Tesis sobre el tema "Art museum visitors – europe"
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Kravchyna, Victoria. "Information Needs of Art Museum Visitors: Real and Virtual". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4692/.
Texto completoKellogg, Smith Martha. "Viewer tagging in art museums: Comparisons to concepts and vocabularies of art museum visitors". dLIST, 2006. http://hdl.handle.net/10150/105154.
Texto completoSmith, Martha Kellogg. "Art information use and needs of non-specialists : evidence in art museum visitor studies /". Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/7182.
Texto completoMbuyi, Ruddy. "Who are the visitors to the National Museum in Stockholm?Sweden's museum of art and design". Thesis, Södertörns högskola, Turismvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39873.
Texto completoSbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.
Texto completoTam, Cheung On. "Understanding museum visitors' experience of paintings : a phenomenological study of adult non-art specialists". Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10006676/.
Texto completoPenzel, Joachim. "Der Betrachter ist im Text : Konversations- und Lesekultur in deutschen Gemäldegalerien zwischen 1700 und 1914". Münster LIT, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2919099&prov=M&dokv̲ar=1&doke̲xt=htm.
Texto completoSweney, Barbara Zollinger. "Student learning in an art museum: a study of docent-led tours and changes in docent training to improve visitors' experiences". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1068230273.
Texto completoEvans, Laura E. "Eating Our Words: How Museum Visitors and a Sample of Women Narratively React to and Interpret Lauren Greenfield's THIN". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299860725.
Texto completoAljuidan, Hanan Abdulaziz M. "Building a Collaborative Smartphone Application for Blind and Low Vision Visitors at the Dallas Museum of Art". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505223/.
Texto completoSweeney, Barbara Zollinger. "Student learning in an art museum: a study of docent-led tours and changes in docent training to improve visitors' experiences". Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1068230273.
Texto completoTitle from first page of PDF file. Document formatted into pages; contains xix, 359 p.; also includes graphics. Includes abstract and vita. Advisor: Terry Barrett, Dept. of Art Education. Includes bibliographical references (p. 436-458).
Axelsen, Megan Lena. "Do the motivations of people attending short-term art exhibitions differ from those of general gallery visitors? : a case study of the Queensland Art Gallery's Asia Pacific Triennial /". [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17781.pdf.
Texto completoD’, Alba Adriana. "Analyzing Visitors’ Discourse, Attitudes, Perceptions, and Knowledge Acquisition in an Art Museum Tour After Using a 3D Virtual Environment". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115062/.
Texto completoBetancourt, Veronica Elena. "Visiting while Latinx: An Intersectional Analysis of the Experiences of Subjectivity among Latinx Visitors to Encyclopedic Art Museums". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1561819806003679.
Texto completoKohl, Manuela. "Kunstmuseen und ihre Besucher : eine lebensstilvergleichende Studie /". Wiesbaden : Dt. Univ.-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2865968&prov=M&dokv̲ar=1&doke̲xt=htm.
Texto completoHou, Yue. "An investigation into visitors' satisfaction with Port Elizabeth's heritage museums". Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1250.
Texto completoTengblad, Johanna. "”Inte som att läsa hemma direkt” : Faktorer som påverkar besökares tillgänglighet till introducerande konstutställningstexter". Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448310.
Texto completoGevart, Louis. "La sculpture et la terre : histoire artistique et sociale du jardin de sculpture en Europe (1901-1968)". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100016.
Texto completoIt is generally accepted that sculpture and garden have shared a common history. Throughoutthe 20th century, however, the sculpture garden has become a strengthened space for theevolution of plastic arts. As an intermediate place between city and landscape, the garden isan experimental field both to the artists (in a formal sense) and to the museum (as an openspace). The first part of the dissertation deals with the time of prototypes (1901-1945) whenthe sculpture garden was characterized by its variety. Outdoors, sculptors have questionedtheir relation ton tradition and nature while collectors have put the first steps of a livinghistory of sculpture by their exhibition choices. By all means, their anchoring to the earthremained strong. The second part relates to the growing of the sculpture garden as culturalmodel during the Reconstruction (1945-1958). Whether real or ideal, the open-air sculpturemuseum then turns into a public theatre in which the forces of the contemporary sculpturefind their expression, particularly through the mutation of the nature/(s)cul(p)ture dialectic. At last, the third part deals with the sculpture garden shifts during the 60s (1958-1968). On the first hand, these shifts went from the landscape to the city: the artists would integrate moredirectly the urban space and the curators saw the architecture as another “outside”. On the second hand, they went from the city to the landscape: collectors and museum directors came back to the earth, conceiving specific landscapes for sculpture, laying the foundation of theexpression of an in situ art in the institutional framework
Thate, Heidrun. "La fondation des musées sous Napoléon : culture et politique dans les territoires frontaliers annexés : Bruxelles, Genève et Mayence". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H042.
Texto completoThis study explores the distribution of paintings by the French government during the periods of the Directory, Consulate, and the Napoleonic Empire. An examination of public archives resulted in the reconstitution of correspondences between local officials (such as themayor and the prefect) and central powers (administrators at the Louvre Museum and the Minister of the Interior). This research highlights the particular policies of the Minister of the Interior Jean-Antoine Chaptal (1756-1832), and sheds light upon the birth of provincial museums (musées de province). The chronology of these national shipments of paintings from1798 to 1814 demonstrates that there are different moments and different kinds of cultural transfers. Only shipments issued under the decree of Fructidor 14 year IX (1 September 1801)and those of the additional order of Fructidor 16 year X (3 September 1802) resulted in the creation of museums upon completion. The history and vagaries of these shipments also reflect the ideology and political beliefs of Chaptal, author and initiator of these two decrees.From 1803 on, this ministerial policy was challenged by the Director of the NapoleonMuseum (Directeur général du Musée Napoléon), Dominique-Vivant Denon (1747-1825),who did not share the Minister’s point of view. At the same time, the first signs of prefectural cultural policy began to appear. The integration of the three towns, Brussels, Geneva and Mainz, under the artistic redistribution of Fructidor 14, was not so much a sign of political assimilation but rather a general desire to appease the nation and achieve national unity -especially important to Napoleon Bonaparte
Bosch, i. Darné Roser. ""Puzzled by all dots" La presencia de los acrílicos sobre tela de los desiertos Central y Occidental australianos en el espacio museísitico europeo: 1982-2012". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/378041.
Texto completoThe following dissertation analyzes the presence of the Australian Central and Western Deserts acrylic movement in European museums from 1982 till 2012. Such presence is investigated by compiling European temporary exhibitions initiatives around the acrylic movement, and by analyzing Musée du Quai Branly’s double commission of contemporary Aboriginal artworks which are integrated today in the museum architectural complex as permanent displays. The main goals of this study are: to understand how Australian acrylic paintings from the desert have been circulating in Europe (by which actors and museums), to highlight the intercultural nature of this artistic movement and its circulation, as well as, to explore past and present representations of Aboriginality through the movement.
Ruoso, Carolina. "Nid de frelons : neuf temps pour neuf atlas : histoire d'un musée d'art brésilien (1961-2011)". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H059/document.
Texto completoThis research sought to understand how Museum de Arte da Universidade do Ceara (MAUC) has become a Hornets House. In order to elaborate this explanation, we observed fifty years of it history (1961-2011), starting from the intrigue about the museum models in dispute in the late twentieth century, in Fortaleza city, as well as about the controversies involving its memory. So we organized our narrative in Nove Tempos para Nove Atlas, trying to analyze this Hornet House inside out, against the grain, and for this reason we present the MAUC through it scenes, watching from behind the windows, which are the characteristics and movements to this adjective. We understand that a Hornets House Museum goes through silence, while develop community and collaborative practices that take part of its history, contributing to the broad conceptual elaboration of its curatorial process. In this thesis we unfold its conceptual aspect that justified the creation of MAUC. We traced through a reading on knowledge circulation works of art and exhibitions, a mapping of relationships networks mobilized by this museum through its structural program. We investigate the possibilities of artistic creation in the physical museum space and the dimensions of cooperation proposed by the institution regarding expositions and works of art. We also try to identify the ways of seeing and being of the visitors at MAUC through the eyes of photographers while viewing exposures
Choi, Eunjung. "Museum visitors' experiences of viewing Korean art". 2012. http://hdl.handle.net/2152/19657.
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Chen, Shin-Chung y 陳信中. "Illustration Creation and Research of Mirror Image between Art Museum and Museum Visitors". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/50052649371917812870.
Texto completo崑山科技大學
視覺傳達設計研究所
103
The purpose of this creation is to explore the relationship between exhibition spaces and visitors. By using illustrations and working with space arrangement, we want to make the whole space a part of the creation, and the visitors as well when they look around. In the literature, we will explore the impact of cultural industries on exhibitions, image expression and visual cognition theory. The figures in this article are mainly about the image composition and the camera language collected from drawing books and comic books. The concept of this creation comes from all the literature and data we’ve reviewed. By letting the visitors be watched when they are looking at art pieces, we observe people visiting art galleries, museums, exhibition spaces, etc, and explore the relationships between them. People usually hope to get some reward and idea when visiting those places, but in fact, they would readily get “what they want to get in their minds”. So when people look at art pieces in galleries or museums, the art pieces are like mirrors virtually reflect what people think in their mind. The concern of this study is to switch roles constantly between visitors and art pieces by creating an environment that you can look at the characters in the illustration and they also look at you. This makes visitors a part of the creation, and they both have two roles, the one who sees and be seen, and we understand that art piece and visitor are kind of like reflection to each other but not totally the same.
Neumann, Sara Tess. "Visitor interaction with video art". 2012. http://hdl.handle.net/2152/19672.
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Lo, Mei-lan y 羅美蘭. "The Study of Relationship between Art Museum Visitors'''''''' Characteristics and Art Appreciation Ability". Thesis, 1993. http://ndltd.ncl.edu.tw/handle/62087108591834487477.
Texto completoArens, Meghan. "Missing! : visitor service in art museums : if found, please call-- /". 2004. http://library2.jfku.edu/Museum_Studies/Missing!_Visitor_Services_in_Art_Museums.pdf.
Texto completoBruemmer, Lisa M. "Towards a visitor-friendly guard experience in U.S. art museums /". 2005. http://library2.jfku.edu/Museum_Studies/Towards_a_Visitor_Friendly.pdf.
Texto completoChiu, Tzu-Yu y 邱子育. "A Case Study of Keelung YM Oceanic Culture & Art Museum Community Non-visitors' Museum Experience and Imagination". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/51360528111457386538.
Texto completo輔仁大學
博物館學研究所碩士班
97
This qualitative research is a case study of the YM Oceanic Culture & Art Museum (hereafter referred to as OCAM), located in the inner Keelung Port. This research aims to present non-visitors’ voices to inspire museums in the future planning, and to remind that museum professionals should listen to the various voices from the communities while planning the interpretation programme and exhibition. In order to explore the views of different generations, eight participants, age above 48-year-old and below 38-year-old, agreed to participant the interviews and observation. They are the community non-visitors, that is, himself/ herself or the family members use to work or still work in the fields of marine transportation, or port services in the Keelung Port, morever, they have never visited or merely visited once the OCAM during a given period. The interviews and observations attempt to know the participants’life experiences and memories associated with the Keelung Port, how they related to the OCAM in the present and past, as well as how the participants imagine museums, furthermore, to understand their visiting behaviors and opinions to the exhibitions at the OCAM. The aim of this research is to increase the understanding of the community non-visitors and to express the social role of the OCAM while improving the further audience development and communication. The findings lead to the suggestions about museum environmental improvement, exhibition plan and audience development for the OCAM and museums in Taiwan on planning long-tern target audience development strategy.
Pai, Shao-Chi y 白少琦. "The Study of Visitors' Art life styles and Leisure Satisfaction:A Case Study in Taipei Fine Art Museum". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/24458651892826387600.
Texto completo國立臺灣師範大學
社會教育學系在職進修碩士班
100
The main purpose of this study is to understand visitors’ art life styles, leisure satisfaction, and the status of their relations at the Taipei Fine Art Museum. The convenience sampling method is conducted. To collect data of this study, 400 questionnaires are sent. 385 of them are effective. Descriptive statistics, t-test, reliability analysis, one-way ANONA, Pearson product-moment correlation and Simple regression analysis are utilized to analyze data. The conclusions and suggestions were listed as follows. 1. Conclusions (1) visitors’ art life styles were rated average, and leisure satisfaction is rated intermediate-high. (2) The gender, marriage status, visiting hour, companion, and artistic work affect the art life styles. (3) The gender, education background, visiting hour, companion, and artistic work affect the leisure satisfaction of visitors. (4)There were significant positive correlation between art life styles and leisure satisfaction. (5)The leisure satisfaction can be significantly predicated by art life styles. 2. Suggestion (1)For Taipei Fine Art Museum: Plan activities or services especially for feminine visitors, family visitors, artistic workers and students. (2)For future researchers Further Research in the aspects of object of study, research time, research technique, exhibition property, and variable of study, to expand the visitor study。
Li, Feng-yi y 李鳳儀. "A Research on the Phenomena and Theories of the Art Museum Visitors'' Abnormal Behaviorism". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/82957289247900711424.
Texto completo南華大學
美學與藝術管理研究所
93
The thesis contains five chapters. Chapter 1 (The Introduction) states the research motive, purpose, method, structure, scope, limits, literature review, and term explanation, and so on, of the thesis. Chapter 2 (The Theory on the Museum Visitors'' Abnormal Behavior) states that a visit to the museum is a trend and then discusses if the museum visitors'' abnormal behavior, including hallucination, fantasy, self-infliction, and even self-murder, violates the law, and how the museum staff should take emergency measures towards this kind of behavior. It further analyzes the psychological factors of the aggressive and unaggressive abnormal behavior, using the National Taiwan Museum of Fine Arts as an example. Chapter 3 (A Study of the Theory on the Showing of the Visitors'' Abnormal Behavior in the Museum) discusses the relationship between family concern and the showing of the abnormal behavior, and it also looks into the theoretical foundations of the abnormal behavior from the aspects of social psychology, educational psychology, normal and abnormal psychological states. Finally it sets the handling mode for the abnormal behavior from the viewpoint of psychiatry. Chapter 4 (The Prevention, Cure, and facilitation of the Museum Visitors'' Abnormal Behavior) states that after research, we should start preventing and curing the visitors with abnormal behavior by the guidance of family and educational system, supported by art therapy such as music and artistic creation. The social concern can also be shown through the help of the community and the administration of the sanitation system. Chapter 5 (Conclusion and Suggestion) shows the research reveals that with the rapid development of society, more and more people with mental illness live together with people with mental health in our society, but we have no idea when the abnormal behavior will show up. So, it concludes: first, much abnormal behavior does exist in the broad courtyard of the museum; second, the museum visitors'' abnormal behavior comes about as a result of the change of the structure of our society and the mind of the public being in conflict, contradiction, and discordance; third, to ensure the safety of the people, the matters, and the objects, the museum should set up a reasonable mode to handle the museum visitors'' abnormal behavior. Lastly, the thesis offers suggestions and issues derived from this thesis for further research.
Moody, Leslie Ann. "Meaning making and the Blanton Museum of Art : a case study". Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1886.
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HSIEH, YU-TING y 謝宇婷. "Representation of Trauma and Visitors’ Interpretations in Contemporary Art: A Case Study of “Rosa’s Wound” at Museum of Contemporary Art, Taipei". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/4p8zys.
Texto completo國立臺北藝術大學
博物館研究所
107
This thesis takes "Rosa’s Wound", an exhibition held in Museum of Contemporary Art, Taipei, in 2017, as a case study to explore how contemporary art exhibition represents and transforms historical and national trauma of Asia as well as how Taiwanese audience understand and interpret this kind of exhibition. The methodology I utilized includes exhibition analysis, curator interview and focus group interview, in which I invited young audience with and without artistic backgrounds to compare how they comprehend and interpret the exhibition. In "Rosa’s Wound", Curator Hsiang Ning Huang suggests that “wound” is not only a slit but a possible path to further connect traumatic history of Asian countries to form a collective Asian identity. She extends the discussion of historical trauma from events in the past to the future by not only telling the forbidden histories to mourn the victims but also pointing out how the oppressive structure in Asia has been an ongoing nightmare threatening democracy and freedom. However, the focus group interview and exhibition analysis show that these linkages and relations were not easily detectable to the audience. First, there is an inconsistency between the Western, feminine name Rosa that implies Holocaust and the Asian, conceptual exhibition content. And the inconsistency along with the blocked, separated exhibition space results in a gap between discourse and artworks to the audience. Thus, it is less possible for the audience to form deeper relations such as witnessing with the artworks and the history it represents. The complicated histories and various types of trauma shown in the exhibition also adds difficulties for audience to organize messages and grasp ideas. Overall, it is still an ongoing process to build understandings of traumas in Asia. In addition, I discover the different preferences between audience of artistic and non-artistic background. The former prefers transactive artworks that create space for imagination and interpretations while the latter prefers communicative artworks that are more straightforward. Finally, in spite of the limitations in "Rosa’s Wound", the audience still values art exhibition as a unique approach to understand and empathize trauma, complementing aspects that cannot be accessed through historical documents and objects. Hopefully, this thesis provides some insights for future curatorial teams and artists to explore and reflect on historical trauma, developing more possibilities to approach this difficult issue.
CHEN, TING-TING y 陳婷婷. "A Study on the Exhibition Strategy and Family Visitors’ Experiential Learning in the Children’s Museum of Art". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/70151703724881643366.
Texto completo國立高雄師範大學
工業科技教育學系
105
In this study, the Kaohsiung Children’s Museum of Art is used as an example to explore the exhibition strategy of a children’s museum of art, analyze which kind of experiential learning a children’s museum of art can bring for family visitors, and investigate how to promote scaffolding learning and parent-child co-learning. Based on a hybrid research design, this study consists of a quantitative analysis first and then a qualitative analysis with its focus on the latter. The data acquired from the quantitative analysis were used as the sampling guidelines and design references for the qualitative analysis. Totally eight sets of family visitors to the Kaohsiung Children’s Museum of Arts were selected through purposive sampling for the qualitative analysis and their written responses are acquired and analyzed using the content analysis method to examine the exhibition strategy. Then the analytic induction method was used to examine their experiential learning. Through the thematic coding and research reflection based on the structure and principles of the Generic Learning Outcomes evaluation model, the “learning experiences” of family visitors during their museum visits and their “learning outcomes” after the visits are extracted to assess the influences of the museum’s exhibition strategy on their experiential learning. The findings of this research are as follows: 1. The goal of application of a children’s museum of art are derived from the Constructionism Learning Theory and there are five characteristics of learning at a children’s museum of art: (1) learning as a proactive and free choice made by individual visitors; (2) learning as tools; (3) situated learning; (4) contextualized learning; and (5) learning through social interactions. 2. The “learning experiences” of family visitors are mostly “improvement of knowledge and understanding”, “improvement of skills” and “changes in attitudes or values”. These three types of learning experiences are mostly initiated through social interactions. The learning outcomes of family visitors are manifested mostly in “changes in attitudes or values”, “enjoyment, inspiration and creativity”, and “changes in activity and behavior”. These three types of learning outcomes can reflect the internalization process of an individual visitor’s proactive learning. 3. The influences of the exhibition strategy of a children’s museum of art on the experiential learning of family visitors can be concluded in the following four aspects: (1) the exhibition topic has an influence on the learning motivation of family visitors; (2) immediate sense of achievement has an influence on the learning motivation of family visitors; (3) exhibition strategy that can promote parent-children interactions can enhance the learning outcomes of family visitors; and (4) the influence of exhibition strategy on parent-children co-learning can indirectly affect family visitors’ experiential learning.
Kuo, Chiao-Chen y 郭巧蓁. "A study of Label and Memory from the Viewpoint of Adult Visitors in the Denver Art Museum". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/88154516703402730074.
Texto completo國立臺南藝術大學
博物館學與古物維護研究所
99
As the major art educational institution, art museums provide audio and physical tours and exhibit labels to assist visitors in their appreciation of the art. Among those tools, texts is the most convenient and accessible one, which meets visitors’ learning need at the first time. The art museum label plays an important communicative role between the artwork and visitors, labels function to remind and explain and it can achieve the visitors’ learning effect. This study aimed to explore the appropriateness of art museum label reading and visitors’ memory. Given the adult visitors are the primary visitors in art museums, the subjects of this study were adult visitors, and the African Art Workshop of Denver Art Museum as the study field. In order to provide more references to art museum education and the label study, this study surveyed the appropriateness of label reading for adult visitors, the difference in the need of label reading between visitors with different backgrounds and the museum memory of adult visitors by questionnaires and interviews After data collection and analysis, research finding showed that: 1. Adult visitors in the Denver Art Museum are mainly typical art museum visitors: frequent museum participants with higher-education, having relevant expertise and interest in art. 2. In all of the adult visitors’ background factors, the interest in art is the main factor which influences the need of label reading. 3. The exhibit label of art museums for adult visitors should include the words which visitors are familiar with. It should contain the artist’s creative process and quotations from the artist. Moreover, the label should indicate the significant characteristics of the artwork. 4. Exhibit labels can provide the information about the art, but also deepen the learning and memory about the art in the art museum. According to the research finding, this study suggests art museums in Taiwan could try to design different exhibit label contents with different level, edit more content about artists and their art making process, and use pictures and texts to explain and interpret the artwork. Keywords: Art museum education, exhibit labels, adult visitors, Denver Art Museum, museum memory
Feng, Yung-Chih y 酆詠之. "Family visitors'' text reading behavior in educational exhibitions of art museum - A case study of NTMoFA". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/86543761783140080398.
Texto completo國立臺灣大學
圖書資訊學研究所
104
This research focuses on the family visitors'' text reading requirements in art museum. It is a case study in “Follow the lines on a journey” exhibition of the National Taiwan museum of Fine Arts. The purposes of this research are: (1) to understand the family visitors’ motivations and requirements on visiting art museum. (2) to analysis family visitors’ reading and using text behavior. (3) according to the family visitors’ motivations, text reading behavior, satisfactions and the meaning of art museum education to generalize the principles of text designing in the art museum. The qualitative methodology with semi-structured interview, and observation was adopted to understand the 8 groups of family visitors’ attitude and ideas of text, and to record their behavior when visiting and reading text. The results of this study suggested that family visitors prefer the text, which was short, easy, connecting to their experiences and combining words and pictures. They have different expectations and requirements towards different types of exhibitions. Family visitors who read the text has better memories and higher satisfactions than those who didn''t. The Findings of the study suggests the design of exhibition label should corresponds to readability and visibility, and adopt multiple text levels.
Émond, Anne-Marie. "The effects of viewing historical art and contemporary art on cognitive dissonance and consonance as verbalized by adult visitors in a fine arts museum". Thesis, 2002. http://spectrum.library.concordia.ca/1763/1/NQ73360.pdf.
Texto completoYang, Ya-Ju y 楊雅如. "The Roles and Functions of Worksheets in Art Museum:An Action Research of Designing Worksheets for Family Visitors in the Museum of Contemporary Art, Taipei". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/u5rx2q.
Texto completo國立臺北藝術大學
博物館研究所碩士班
104
The diverse educational programs targeted for audience of different ages are very important for art museum education. Among them, the worksheet plays the role as museum educator. How does the art museum design educational worksheets to assist family visitors to learn contemporary art? What are the features of worksheets designed for family visitors? Theories of Multiple Intelligences and Five Windows proposed by Howard Gardner will be discussed in this study, and the methods of action research and content analysis are applied to analyze worksheets of the Museum of Contemporary Art Taipei (MOCA, Taipei). Applying theories of contemporary art education, the researcher designed the worksheet of “In the Name of Art – Hong Kong” exhibition for family visitors. Analysis shows that the features of worksheets of MOCA focus on observation and creation skill connecting with contemporary art and life experiences with emphasis on narration, numerical and experiential windows. From the observation and interview with family visitors, the research results are as follows: 1. Interactive worksheets are most popular. 2. Learning map leads the spatial intelligence and children’s memories. 3. Parents influence how frequent the worksheets are used. 4. Family visitors are much more impressed with those exhibits applying musical intelligence and 5. Family visitors prefer user-friendly worksheets. Several principles of designing the contemporary art worksheet for family visitors are suggested as follows: 1. Worksheets with games attract children. 2. Worksheets should be children friendly. 3. Worksheets with illustrations are popular. 4. The worksheet is not a replacement of guidebook. The study also suggests that parents should read and learn the exhibition information before their visit as well as rent audio guide and learning box for children. If the parents enjoy the visit and share their experiences with children, visiting contemporary art museums will be wonderful experiences for children.
Riley, Caroline M. ""Ambassador of Good Will" The Museum of Modern Art's "Three Centuries of American Art" in 1930s Europe and the United States". Thesis, 2016. https://hdl.handle.net/2144/17711.
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Chen, Hsiao-Jan y 陳曉然. "A Case Study on the Youth Visitors’ Learning Experiences of the Display-Related Workshops at the Taipei Museum of Contemporary Art". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/t9ktbd.
Texto completo國立臺北藝術大學
藝術與人文教育研究所碩士班
99
Abstract Located in Taipei, the Museum of Contemporary Art can always bring new issues and forms by its exhibition. Visitors are mostly young audience; in recent years, it has organized a lot of art education programs, attempting to help people understand the meaning and contemporary art issues by the diversity of educational activities. Among the activities, the weekend workshop which is interesting and inspiring is based on elements and issues of current exhibition. The museum staff or workshop teacher will lead participants to explore the exhibition and creation through workshops; its appeal is to make the connection between the exhibition and creative activities; the design of the weekend workshop is bound to show links with the theme of the exhibition of contemporary art, which is often abstract and controversial. Therefore, how to design the weekend workshop in relation to the museum''s exhibition themes, and what are participants’ motivation and experiences are the research questions. Therefore, this study adopted qualitative observation and interview along with quantitative survey as research method; research subjects are 18 to 35 year-old young audience. Through four times of weekend workshop case study, there were 30 questionnaires considered valid. After interview with eight young participants and museum staff and teachers of each workshop, analysis on young participants’ learning experiences of the weekend workshop are as follow: 1. The teachers adopted low-pressure teaching method to encourage participants to create their works. 2. The joy of creation is what satisfied young participants most. 3. The relevance of content between weekend workshop and exhibition in the Museum of Contemporary Art is low. According to the conclusion mentioned above, there are some suggestions in organizing exhibition-related educational activity in art museum: 1. Teachers and museum staff should work on planning the content of weekend workshop together. 2. There can be more multiple ways to present weekend workshop in relation to the exhibition. 3. The location of workshop classroom can be in adjacent to the exhibition and decorated in relation to current exhibition. 4. More promotion and marketing are needed for weekend workshop.
Hung, Chung-Chien y 洪仲謙. "Applying IPA to Explore Visitors’ Feelings Over Exhibition – Taking 2015 Asian Art Biennial Held in National Taiwan Museum as an Example". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ke8w6c.
Texto completo朝陽科技大學
企業管理系
104
Owing to the growing popularity of new museology movement, focusing on “Human-centered,” using to be “Heritage-centered,” dominates the thoughts on museums. Consequently, it does become the core work in museums. Recently, the museums around Taiwan like bamboo shooting after a spring rain have constantly grown their prosperity. Thus, everyone has gradually considered that the main purposes of museums existing around us are not just only for preserving some ancient items stemming from the past, but also for positively constructing the appropriate environment for exhibiting. Moreover, those museums are also regarded as the places where are able to preserve the memories of the past as well as create those of now and future. Therefore, seen from those points of view, those museums with entrepreneurial operating system along with their systematic promotion have become a global trend. In the study, a quantitative technique will be utilized to conduct the survey. Furthermore, for the sake of investigating the visitors’ feelings over the exhibition, the analyzing tool, Importance-performance analysis (IPA), will be utilized. According to the result shown, six items falling in to the fourth quadrant, Concentrate Here, are priority to be improved. Finally, the study will offer the relevant authorities some proper suggestions in order to improve visitors’ feelings over exhibitions as well as better the museums’ service qualities.
Reis, Catarina Alexandra Gonçalves dos. "Digital technology as mediation in European fine art museums". Master's thesis, 2019. http://hdl.handle.net/10400.14/32928.
Texto completoCheng, Ya-Ping y 鄭亞萍. "Interaction between Visitors and Panel Text: A Case Study of Alphonse Mucha – Art Nouveau & Utopia at the Kaohsiung Museum of Fine Arts". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/82aj7d.
Texto completo國立臺南藝術大學
博物館學與古物維護研究所
101
Audio-guide, brochures, panels and labels are commonly employed within the field of art exhibitions to provide visitors with better understanding and therefore able to interpret or explain the content. These are generally known as the “museum text”, and have been fundamental tools in museum exhibitions. The focus of this research is on the text on panels, which is one of the earliest guiding information for visitors when they entering the museum exhibitions, leading visitors to artworks and the concept of the exhibition. By reviewing the literature, it is obvious that audience has their own awareness, and is self-determined, which corresponds with the feature of museum education, such as liberation and self-learning. Meanwhile, visitors choose their perception of information, including text and images to help himself or herself to read, understand, and interpret the artworks. Consequently, the guidance provided by the panel text has to be really helpful otherwise it will be filtered out by the ‘self-determination’ of the visitors. When investigating the interaction between the visitors and art exhibitions, it is essential to review and define the meaning of the existence of the panel text. There could be several levels related to the meaning of the panel text, including “educational feature of art exhibitions”, “aesthetic experience of visitors”, “panel text as part of the curation”, and by listing how these function with the inner information perception and knowledge gaining of audience, as the user, the research tries to explore the value of the panel text and the ideal way of using it to guide. The Alphonse Mucha – Art Nouveau & Utopia Exhibition at the Kaohsiung Museum of Fine Arts was a typical art exhibition which employed panel text as a guidance for visitors. This research explores the interactivity of visitors’ viewing and reading the panel text through natural observations and in-depth interviews on site. It also aims to understand the reaction of visitors between before, during, and after viewing the panel text, via a cross comparison of collected data. It is important to find out the real situation of the visit, and hopes to unveil the process of how visitors interacts with panel text. From studying the process of interaction between visitors and panel text, to discovering the introductory benefit of the panel text, it is significant to take visitors into account: how their self-determination function, how they perceive information, and how panel text include knowledge and stimulation to continuity and expectation for further artworks and text. Lastly, it points out that panel text within an art exhibition is not just assisting, but more of connecting. It not only provides visitors a path to view artworks, which is connecting the content of the artwork with visitors; furthermore, it embeds the context into visitor’s knowledge system and transforms the content of artwork into new applicable information. It helps visitors to communicate with artworks, and encourages more interactivity, and demonstrates information perception in order to develop more aesthetic experiences. The interactivity and guidance of the panel text is indeed a profound and everlasting issue for art museum professionals to rethink.
Harris, Ashley D. "Everyone has a story to tell : exploring the associations and connections made by visitors at a zoo, art gallery and two museums". Thesis, 2010. http://handle.uws.edu.au:8081/1959.7/496421.
Texto completoChen, Chu-hsuan y 陳築萱. "A Study of the Relationship between Interaction Model and Aesthetic Experience of Parent-Child Visitors in Art Museum- Taking Two Permanent Collection Exhibitions of the TFAM For Example". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/93343324224991654359.
Texto completo國立新竹教育大學
美勞教育研究所
95
The development and change of the present artistic education, besides the attention to the social culture phenomenon, emphasize on combining experiences of life and artistic activities, enabling the daily life to be artistic. The main goal of Art Museum lays in improving the whole people's aesthetic sensibility, especially the promoting of parent-child's education which takes a deep understanding of the characteristics of the parent-child audience in Art Museum visiting. This research sets out from the common art-visit experience, probing into the various activities, the interaction and aesthetic experience of the parent-child audience of the Art Museum visits. This research adopts qualitative research methods, including observation, interviews and content analysis, and chooses the parent-child audience as research object of visit highlights from the permanent collection exhibition of Taipei Fine Art Museum reservations during 2006 and 2007. First, the author keeps the observation tracking record forms of the interaction behaviors of parent-child audiences in Art Museum to analyze visit time, amount of exhibitions, routes, the interaction types, contents, leading role and the frequency of assemble and dispersion among the visit members. Secondly, the thesis with the interview survey of parent-child audiences in Art Museum analyzes their aesthetic experiences. The interview item contains four dimensions, including aesthetic perception, imagination, understanding and emotion. Finally, the author tries to mark out the significance of art-visit interactions and the detailed process of aesthetic experience. Major conclusions of this research are as follows: 1. Despite the visit frequency, the main motive of parent-child audiences is acquiring knowledge, but their precious gain is the promoted relationship of interaction in Art Museum. 2. The tour routes of parent-child audiences are affected by the habit of right-tilt, fatigued and exits expectation. 3. Passing through the rest area, the parent-child audiences have irregular tour routes, including the 'straight-line type', having a look around hurriedly; 'the twisty type', visit freely, and the 'return type', going back and forth. 4. The interaction models of parent-child contain the two-way communication, 'sharing' and 'question-answer’, and the one-way communication, 'introduction' and 'description' . 5. The parents often play the role of starting dialogues and leading tour routes, especially the mother. As for the children, sons often leads the visit routes and daughters triggers discussions. 6. The behaviors of assemble and dispersion of parent-child audiences, can be divided into three types which are 'assembling', 'dispersion' and ' axle center'. 7. In Art Museum the parent-child aesthetic experiences commonly contains four dimensions as aesthetic intuition, imaginative interpretation, reflective apprehension and emotional empathy. 8. The aesthetic experiences of parent-child audiences are influenced by the interaction model, dialogue frequency, behavior of assemble and dispersion. According to the result of this study, the author would propose some advices for the art museums, parents, art educators, and further researches, hoping they can be helpful to art education and learning.
Simplício, Susana. "Públicos do Museu Nacional de Arte Contemporânea: Museu do Chiado". Master's thesis, 2010. http://hdl.handle.net/10071/2330.
Texto completoIt is aim of this study to contribute to the knowledge of museum visitors in Portugal, more concretely of the contemporary art museums, as for the profiles, practices and cultural habits, visits and relation with the museums, such as the comparison of the visitors profile of contemporary art museums with the characteristics of general museums visitors, giving as illustrative the case of Museu Nacional de Arte Contemporânea – Museu do Chiado. The knowledge of the profiles of museum visitors is an important tool for decision making in this sector, by the persons in charge, enabling the improvement of the offer in adapted way and, therefore, a better functioning, communication and orientation for them.
Pereira, Teresa Homem de Melo de Moura. "Regimes de gratuitidade em museus nacionais: impactos nos públicos seniores". Master's thesis, 2016. http://hdl.handle.net/10071/12579.
Texto completoThis dissertation, written in the context of the Masters Degree in Arts studies, focuses on the National Museum of Ancient Art’s senior visitors, more specifically on its relation to the conditions of access to the institution. The used methodology, mostly qualitative (direct observation and interviews) allowed the identification of the positioning of the public, but also of the institution itself, which can (or not) contribute to the observance or adherence to the conditions that supposedly are an advantage. Will it mobilize the visitors? The identified impacts were several, inherent to a qualitative investigation that pretends to detect particularities, however, it’s possible to identify tendencies in the established relations, mainly with the museum itself and its conditions of access. Keywords: Senior Visitors, National Museums, Admission Charges, Free Entry, National Museum of Ancient Art
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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