Dissertations / Theses on the topic 'New Zealand museums'
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1
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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Williams, Paul Harvey. "New Zealand's identity complex : a critique of cultural practices at the Museum of New Zealand Te Papa Tongarewa /." Connect to thesis, 2003. http://repository.unimelb.edu.au/10187/1542.
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This dissertation critically analyses New Zealand’s National Museum Te Papa Tongarewa. Since it opened in 1998, Te Papa, arguably the world’s foremost exponent of the ‘new museology’, has been popularly and critically supported for its innovations in the areas of popular accessibility, bicultural history, and Maori-government management arrangements. As the first in-depth study of Te Papa, I examine and problematise these claims to exceptionality. In producing an analysis that locates the museum within cultural, political, economic and museological contexts, I examine how the museum’s particular institutional program develop, and point to limitations in its policy and practice.
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Tapsell, Paul. "Taonga : a tribal response to museums." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263242.
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McCredie, Athol. "Going public New Zealand art museums in the 1970s /." [Palmerston North, N.Z.] : Massey University Library, 2006. http://hdl.handle.net/10179/250.
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Algers, Maria. "Museums as tools for Cultural Citizenship: Two case studies in New Zealand." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21590.
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This thesis will explore the concept of cultural citizenship by researching visitor’s responses to five exhibitions across two museums in the Lower Hutt region of New Zealand. The thesis will also examine museum management and staff’s perspectives on these exhibits, and compare these to visitor’s. The aim of the thesis is to understand how museum visitors reflect upon and use museum exhibits as tools in relation to their cultural heritage and cultural citizenship. This approach provides a focus for reflection regarding the cultural importance of museum exhibitions. Stuart Hall’s encoding/decoding model will serve as an overall framework for the study, and the theoretical concepts of memory, rhetoric, meaning making and cultural citizenship will further inform the analysis. The results indicate that museum visitors reflect upon exhibits as tools for reminding, and also indicate that exhibits are seen important for learning and representation. Furthermore, the study finds that visitors do not find exhibits particularly challenging or personal. Museum staff provide other perspectives on the importance of museum exhibits, such as their art historical, representational and community-museum relationship building potential, but the study finds that these themes are seldom explicitly recognised by visitors. The concluding discussion reflects on these results, and suggests avenues for future research.
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Lemoine, April J. Williams Stephen L. "Repatriation of cultural property in museums a balance of values and national agendas /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5073.
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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.
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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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Crelinsten, Rohana. "Maori stereotypes, governmental policies and Maori art in museums today : a case study of the museum of New Zealand Te Papa Tongarewa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0007/MQ43672.pdf.
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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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McCredie, Athol. "Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University." Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.
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This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.
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Lange, Candy. "Marketing the visual arts in New Zealand a critical analysis of promotional material by Christchurch's art galleries : a thesis submitted to the Auckland University of Technology (School of Communication Studies) in particular fulfilment of the requirements for the degree of Master of Arts (Communication Studies), October 2007." Click here to access this resource, 2007. http://hdl.handle.net/10292/308.
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Thesis (MA--Communication Studies) -- AUT University, 2007.Includes bibliographical references. Also held in print (xi, 242 leaves : col. ill. ; 30 cm.) in the Archive at the City Campus (T 708.99383 LAN)
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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
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Smith, Daniel Charles Patrick. "City revealed : the process and politics of exhibition development : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/253.
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This thesis examines the ways in which the process of exhibition development and the politics this involves affects the practice of history in the museum. It does this by establishing the broad parameters of history practice in the museum and places this in relation to academic practice, focusing on the New Zealand context and specifically upon Auckland War Memorial Museum. From this basis the thesis examines the development of City exhibition at Auckland Museum as a large-scale museum history exposition. The development process for this exhibition was created with the aim of changing the traditional Museum approach so as to create a more engaging and scholarly history exhibition than is traditional. At the same time however, there was also an aim of retaining the appearance of the traditional Museum within this programme of change. These aims were to be met by the innovation of the collaboration between an academic historian and the Museum's practitioners in the development process.The research is based upon a detailed investigation of the roles played by the exhibition team members and the decisions, negotiations and compromises that they made through the development process. Beginning with their original intentions and concepts for the exhibition its metamorphosis into the exhibition as it was installed in the Museum gallery is traced. Emphasis is placed on the resonance that the various decisions and changes carried into the finished exhibition. The findings indicate that the Museum's traditions of developing and displaying knowledge exerted a strong conservative effect over the exhibition development in conflict with the programme of change. This conservatism vied with the authorial intentions of the exhibition development team. As a result of this influence the exhibition developed leant towards the conventional. The unexpectedly orthodox outcome resulted from the absence of critical museological practice. The thesis argues that although Auckland Museum had undergone extensive restructuring, including the introduction of new exhibition development processes and a new outlook as an organisation, the conception of history in the Museum had not changed. Ultimately this precluded that the practice of history in the institution would advance through the revised exhibition development process. However, the development of City did help achieve the updating of social history in the Museum and remains a platform upon which a more critical approach to the past can be built.
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Waite, Julia. "Under construction : national identity and the display of colonial history at the National Museum of Singapore and the Museum of New Zealand Te Papa Tongarewa : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1039.
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Osborne, Michelle. "The curator's room visceral reflections from within the museum : exegesis [thesis] submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2004." Full thesis. Abstract, 2004.
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Kefalas, Christofili. "Maori ways of knowing : the politics of knowledge surrounding Taonga and the Charles Smith Collection." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:775ee755-5e2e-409b-98a2-b3e113b42172.
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This research considers material culture, the politics of identity, and the role knowledge plays in a Maori community in relation to a nineteenth century historic collection held abroad. The Charles Smith collection came from the Nga Paerangi community in Whanganui, New Zealand. The importance of historic collections to Maori are described through the concept taonga, or treasured objects, which have been theorized in terms of kinship relationships to a certain class of social valuable. This research acknowledges that taonga uphold the continuity of historic relationships, but departs from other analyses in its focus on a previously unknown collection, introduced to the source community through photographs in an exploration of ways taonga interactions are historically and circumstantially informed. Visually focused research endeavors often present diverse responses in a meeting of the social life of objects and the politics of knowledge. Similarly, divergent responses to taonga arose that referenced the colonial contexts in which such taonga left Maori control, as well as losses to knowledge bases in the community. Endeavors to reclaim lands and cultural heritage through language and education initiatives operate at a local level of regeneration, but these goals become pertinent to larger issues of placing knowledge within a rights-based framework grounded in personal socializations of knowledge. The recognition that knowledge is taonga emerged as the framework for understanding ways Maori assert their authority over land, their language, and museum collections based in particular dispositions to knowledge. The control enacted over cultural representations in museums, land courts, and other political forums, asserts self-determinative positions, and also claims Maori knowledge as a scarce resource. Community speakers who have access to this powerful knowledge must therefore act on behalf of their communities as guardians of knowledge and taonga treasures, to redress historic losses, outsider appropriations of culture, and prevent further social disadvantages.
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Cobley, Joanna. "The museum profession in Aotearoa New Zealand: A case study in economic restructuring and investigating the movement towards feminisation." Thesis, University of Canterbury. Gender Studies, 2002. http://hdl.handle.net/10092/4489.
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This study investigates the impact of economic restructuring and the movement
towards feminisation of the museum profession in Aotearoa New Zealand in the
period 1984 - 1999. Radical economic and structural changes were imposed on most
public sector organisations by the fourth Labour Government (1984-1990) and the
subsequent National Government (1990-1999). During this time, museums increased
the numbers and ratio of women employed in professional roles at such a rate that it
cannot be wholly accounted for by the introduction of Equal Employment
Opportunities legislation (EEO) and improved education and employment
opportunities for women. This thesis explores three factors that contributed to this
increase.
First, the impact of the restructuring policies paved the way for a new business ethos
to enter and reshape museum practice in unprecedented ways since 1984, shifting
from a public service model into a public management culture of competitiveness and
commercialisation. Second, transformations in the sector already occurring prior to
1984 involving democratic ideals instigated a shift in the museum's conception of
their public; improving public access, increasing the museum's popularity and serving
under-represented audiences. Third, a shift in perception ofthe museum visitor since
1984 from citizen to consumer has in tum led to greater emphasis of the customer
service role and contributed to a decline in the status of museum work. The
devaluation of museum work can be linked to the dramatic employment growth of
women in the museum sector. This growth is evaluated in terms offeminisation
theory but only in so far as the increased importance of customer service work roles in
the museum sector are associated with the "feminine". Qualitative data from semistructured
interviews with 17 mid-career museum professionals is utilised as a means
to conceptualise, describe and assess the effects of economic restructuring, the
introduction of the new management model and the relationship to feminisation.
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Hourston, Laura. "Romantic nationalism and modernity as competing narratives of identity in the Museum of Scotland, with reference to the Canadian Museum of Civilization and the Museum of New Zealand Te Papa Tongarewa." Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/23058.
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Phipps, Gareth. "Bringing our boy home : the Tomb of the Unknown Warrior, its visitors, and contemporary war remembrance in New Zealand : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1300.
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Legget, Jane Anne. "Mapping what matters in New Zealand museums : stakeholder perspectives on museum performance and accountability : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Management and Museum Studies, Massey University Albany, Auckland, New Zealand." 2006. http://hdl.handle.net/10179/1546.
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Accountability for museum performance was investigated in the context of New Zealand's public museums. Governing bodies account for museum performance through published annual reports, while performance assessment assists museum managers to achieve museums' objectives. Museum professionals also have expectations of museums. This research questioned whether museums were reporting on the aspects of their performance that mattered to a wider range of stakeholders. The research is both descriptive and exploratory. A nationwide survey of museum directors gathered data about performance assessment at publicly-funded museums where one or more paid staff made management decisions. The Survey's descriptive findings, covering experiences and views of museum assessment practice, set the wider context for an exploratory Case Study of a large museum, combining qualitative and quantitative methods. Various groups of stakeholders identified aspects of the case museum's performance that matter to them and the ways in which they might assess them. Maori perspectives were contributed by several participants, a recognition of the importance of taonga Maori collections in New Zealand museums. Diverse museum stakeholders co-created statements as potential performance assessment criteria. A concept mapping process, involving these statements, revealed distinct conceptual elements of the construct, an 'effectively performing museum', reflecting the respondent groups' differing realities, yet much common ground. Three analytical approaches, functional, structural and cultural, compared and contrasted the concepts and their relative importance. The research identified dimensions of museum performance that could contribute to an integrated framework for museum performance assessment meaningful to a wider range of stakeholders. A conceptual model for museum accountability was developed. Findings suggest that museum performance indicators in New Zealand should extend beyond a focus on visitor numbers and satisfaction to include collection health, staffing quality, Maori concerns and community relationships. Assessment of these factors would enable museums to better account for their performance as community assets.
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Dibley, Ben. "Expositions : theory, culture, museum." Phd thesis, 2004. http://hdl.handle.net/1885/146406.
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Walliss, Jillian Louise. "The nature of design : influences of landscape and environmental discourse on the formation of the Australian and New Zealand national park and museum." Phd thesis, 2009. http://hdl.handle.net/1885/148257.
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Caines, Rachel Brigitte. "“Their Glory Shall Not Be Blotted Out”: The Acknowledgement of Indigenous First World War Service in Australian and New Zealand National Commemorations, 1918-2019." Thesis, 2020. http://hdl.handle.net/2440/125939.
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This thesis explores the extent to which Indigenous Australian and Māori First World War service has been acknowledged in national sites of commemoration in Australia and New Zealand over the past century. Between 1918 and 2019, the national commemorative landscapes in Australia and New Zealand evolved to accommodate changing national values and priorities. The thesis argues that the development of different Indigenous-non-Indigenous race relations in Australia and New Zealand ultimately informed the extent to which Indigenous First World War service was acknowledged at a national level. In New Zealand, some Pākehā acceptance of Māori society and culture at the outbreak of the First World War facilitated the active involvement of Māori in the conflict. As this limited acceptance developed into an official policy of biculturalism (albeit in an asymmetrical form), the acknowledgement of Māori war service was increasingly incorporated into mainstream national sites of commemoration. In Australia, by 1914 a broad national policy of exclusion and isolation of Indigenous Australians resulted in governmental restriction surrounding their participation in the First World War. Although official national attitudes towards Indigenous Australians changed with social and political developments from the 1960s onwards, by the beginning of the twenty-first century Australia’s race relations with its Indigenous peoples remained strained and unresolved. The lack of a clear “bicultural” policy with regards to the inclusion, recognition, and representation of Indigenous Australians restricted the extent to which their First World War service has been acknowledged at a national level. While historians have increasingly explored aspects of Indigenous Australian and Māori participation in the First World War and their subsequent inclusion in commemorations of conflict, the field remains small. In particular, comparisons between the two countries remain unusual, despite the inherently comparative nature of their First World War commemorations. By adopting a comparative approach, this thesis breaks new ground and provides a thorough discussion of the extent structural and institutional policies regarding race-relations have impacted the commemoration of Indigenous Australians. This thesis utilises a range of material, including military personnel files, committee minutes, floorplans, ephemera, newspaper articles, interviews with museum professionals, and the physical sites of commemoration themselves. Following the Introduction, Chapter I provides an overview of the extent of Indigenous Australian and Māori participation on the war. In particular, it focuses on the ways in which official national policies regarding Indigenous war service evolved between 1914 and 1918, and the way these policies impacted the nature of Indigenous participation in the conflict. Chapters II through IV then examine how Indigenous war service has been acknowledged in the key sites of commemoration in Australia and New Zealand: days of remembrance (II), war memorials (III), and war museums (IV). The thesis concludes with a discussion of the importance of Australia and New Zealand’s differing policies towards their Indigenous populations in shaping the ways in which Indigenous war service has been acknowledged at a national level. It also shows why the findings of this thesis are relevant beyond the end of the First World War centenary.Thesis (MPhil) -- University of Adelaide, School of Humanities, 2020
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Jørgensen, Helle Bank. "Exchanging the inalienable the politics and practice of repatriating human remains from Museum and Maori tribal perspectives /." 2005. http://www.anthrobase.com/Txt/J/Joergensen_H_01.htm.
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Thesis (Kandidatspeciale / MA)--Institute of Anthropology, University of Copenhagen.Title from screen page; viewed 25 July 2005. Includes bibliographical references. Also available in print format.
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WANG, SZU-TING, and 王思婷. "The Use of Film Narrative in Exhibition Design: A Study on an exhibition of the Museum of New Zealand Te Papa Tongarewa “Gallipoli: The Scale of Our War”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/qqnb8j.
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碩士國立臺灣藝術大學
藝術管理與文化政策研究所
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Walking into the museum is like entering a unique space that is frozen in time. From the selection and sequencing of the objects, to the design of the exhibition hall, every detail is a deliberate, careful decision on the part of the museum, which gives new context and value to the objects; The museum itself has also transformed into an institution that needs to interact with society, a condition that will inevitably affect the museum's collection concept and strategy. Therefore, exhibition design needs to have a new method of communication that is well-developed and keeps pace with the times. With the aforementioned context in mind, this study will discuss the issue of war, a difficult topic to manage for a museum, and also how the case in this study brought about changes in historical interpretation by presenting a new look in their exhibition design. Move time backwards by a hundred years, and there one would find a turbulent period in modern history. The First World War was sparked by long-term disputes in Europe. The Allies, led by Britain and France, wanted to control passage through the Dardanelles and to cut off the Ottoman Empire’s supply line and capture Istanbul. Australia and New Zealand became needlessly entangled in the cruel and ruthless war, even though they were far away in the South Pacific. The Australian and New Zealand Army Corps (ANZAC) were ordered to join what was the largest landing operation at the time — the Battle of Gallipoli. In 2015, Museum of New Zealand Te Papa Tongarewa planned and implemented a strategy for collaborative creation with external parties. It joined forces with the famous Weta Workshop for the exhibition — Gallipoli: The Scale of Our War. It has become the most popular exhibition in the history of the museum. This study will use this special exhibition as an example, through the research methods of display observation and analysis, written data and archive research, semi-structured interview and E-mail interview, to explore how the Gallipoli campaign influenced New Zealand in such a significant way that the government of New Zealand was willing to sponsor the special exhibition. Then it will explore the influence on the museum exhibition of the collaborative mode between a museum and a movie workshop as well as how the narrative text of exhibitions and the movie narrative were used in the exhibition design. Finally, the study will focus on how a new-style exhibition allowed the visitors to accept the serious topic of war while raising resonance. The study brings forth 3 research findings: 1. The sense of identity of the people of New Zealand exudes from the war experiences of many soldiers. Numerous battles cost a price of high casualties while raising the patriot awareness of the people. This viewpoint was recognized by the general public at the end of the 20th century. The society of New Zealand today has been shaped by the experiences of the Gallipoli campaign. 2. The exhibition design incorporated the movie production methods, such as actor auditioning, character dubbing, specific incidental music, and vivid large-scale and miniature sculptures. A large amount of images and music served as important design elements. The exhibition title texts were written in the first-person viewpoint, aiming to bring sentimental power through the personal narrative. 3. In order to clearly state the standpoint of the museum, the exhibition avoided using the typical war commemorative emblems and beautifying war excessively so that the reality of the Gallipoli campaign and the New Zealand family history may be truthfully presented.
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Lambert, Stephanie Jane McKinnon. "Engaging practices : re-thinking narrative exhibition development in light of narrative scholarship : a thesis presented in partial fulfillment of the requirements for the degree of Masters of Arts in Museum Studies at Massey University, Palmerston North, New Zealand." 2009. http://hdl.handle.net/10179/1082.
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This thesis bridges narrative theory and the practice of developing narrative exhibitions in museums. It aims to show how an understanding of narrative theory provides a dynamic context for evaluating ongoing exhibition practices and adapting them to changing attitudes and aspirations. For practitioners within the museum sector it introduces a rich body of previously under-utilised scholarship along with a method of interfacing it with museum practice. The idea of deriving ideas for museums from other sectors is not new. Museums increasingly embraced narrative in the 1980s after seeing its value in attracting audiences to film, theatre and theme-parks. Then it was assumed that what was relevant in one sector would be equally relevant in another. However, the interim upsurge of Media Studies suggests that rigorous examination of how each medium operates is necessary in order to identify similar constraints and affordances before scholarship from one area of practice can be appropriately applied in another sector. In opening a path for museum practitioners to gain insight from narrative practitioners in other sectors, the thesis intends also to open the way for knowledge to flow from the discipline of museum studies out into other areas of narrative practice, where cross-disciplinary approaches have already gained ground. At the outset, a context is established through a review of narrative literature. Two different approaches are used. Firstly a broad review of different ways to approach narrative is carried out and a typology of narrative is developed. Secondly commonalities are identified between narrative in exhibitions and narrative practice in other media. Exhibition practices are then described in detail, focusing on experience at the Museum of New Zealand Te Papa Tongarewa, where research was enriched by in-depth interviews with exhibition development staff. Te Papa’s development of narrative exhibitions is traced, and two case studies demonstrate how their model is put into practice to achieve narrative delivery within the museum galleries. For museum professionals and narrative practitioners in other fields, this thesis provides an opportunity to examine processes of narrative delivery against a backdrop of theory. It makes a useful link between the museum sector and other areas of narrative practice.
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Marriott, Tanya. "Storytelling memories : a tangible connection to bomber command veterans : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Design at Massey University, Wellington, New Zealand." 2009. http://hdl.handle.net/10179/1045.
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As we pass the 6oth anniversary of the end of World War Two (WW2) historians are diligently collecting the memoirs of veterans to preserve for future generations. Public archives of memorabilia, letters, photos and artefacts, in the process of digitisation are complimenting the stone memorials of the past. This material culture of memory discusses human interaction. “The poor, the rich, the brave and the afraid, the hero and the deserter” (Moriarty, 1999, p 654). In contemporary museum culture this digitised information is presented in either web-based systems, or interactive kiosks. However, this approach to packaging memories and historical data often leaves out much of the depth of the topic information, skimming the surface of the knowledge conveyed. New solutions to memory and artefact display have been developed effectively in the Churchill room’s exhibit designed by Small Design (Kabat,2008) and Memory Miner (Memory Miner, 2008), a home-based memory archive programme by John Fox. Both convey the memories and artefacts upon a mapped interface, using our desire to discover and connect with memories to navigate the narrative in a self-guided format. The Storytelling Memories project seeks to build on current research to formulate an interactive platform of memory immersion and experience within a museum environment. The project utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the interface surface will “unlock” contained memories, enabling an open-ended storytelling experience. The design encourages the user to interact directly with the memories to create their own dialogue, with the intention of developing a more emotive, personal connection to the Veteran.
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Ward, Lucina. "A translation of a translation: Dissemination of the Arundel Society’s chromolithographs." Phd thesis, 2016. http://hdl.handle.net/1885/101935.
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The thesis casts new light on the activities of the London-based
Arundel Society (1848–1897). It examines the watercolours and
chromolithographs produced for the Society made after
pre-Renaissance frescoes and Northern altarpieces, the discourse
around them, and the ways the prints were collected by
organisations and individual subscribers. The Society’s
commercial and ideological strategies, its didactic and archival
programs, as well as the multi-faceted nature of its authorship
are analysed. Using the notion of translation, this thesis
explores how mediation affects the reception and meaning of a
work of art.
The Arundel Society, or Society for Promoting the Knowledge of
Art, was one of the first entities to issue high-quality colour
reproductions of works of art. Through an investigation of the
impact of these colour images on art writing, and the ways in
which they helped give visual form to ideas about art, this
thesis proposes new value for the Society’s publications. The
prints, sculptural casts and texts issued over fifty years were
an important contribution to art history in a period when the
discipline was developing; they were distributed around the
world, bringing popular awareness to the art of earlier times. By
examining subscriber lists and exploring the connections between
the Society’s members, this thesis demonstrates the ubiquity of
the chromolithographs. By considering the prints in a range of
domestic and religious spheres, within museums and other
institutional contexts, the thesis challenges the idea that
reproductive prints are by nature unilateral and poses further
complexities about the original, its image and the viewer—it
asks questions about what happens if works of art look back.
This thesis is the first to examine the Arundel Society’s
contribution to a nascent art history and only the second, since
Tanya Ledger’s more than forty years ago, to assess its
activities in depth. Initially the Society aimed to record and
spread knowledge of important monuments. Later it placed greater
emphasis on recording works of art to which general access was
difficult, and those threatened by decay or destruction; the
function of the watercolours and prints as a ‘condition
report’ was recognised at the time. In 1860s and 1870s, at the
height of the Society’s popularity, the chromolithographs were
also used as home furnishings, while in various churches they
remain as items for devotion. By surveying extant holdings, this
thesis assesses the role of the Society’s publications in the
development of museum collections in Britain, the colonies and
further afield, and reconsiders the possibilities for these works
in the twenty-first century.