Bibliografías temáticas / Art museums

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Literatura académica sobre el tema "Art museums"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Art museums"

Uralman, Hanzade. "The library of Istanbul Museum of Modern Art: a new type of art museum library for Turkey". Art Libraries Journal 35, n.º 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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Mihalache, Irina. "Art Museum Dining: The History of Eating Out at the Art Gallery of Ontario". Museum and Society 15, n.º 3 (6 de enero de 2018): 287–300. http://dx.doi.org/10.29311/mas.v15i3.2543.

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Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s culinary history offers an opportunity to liberate the museum from prescriptive theoretical models which are not anchored in institutional realities; these hide aspects of gender and class which become visible through food narratives.KeywordsArt museum restaurants, culinary programming, women’s committees, multisensorial museums, Art Gallery of Ontario

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Park, Kyoung-Shin. "A Study on the Legal Character of Museums and Art Museums under the Promotion Law for Museum and Art Museums of Korea: Focusing on Non-for-Profit Character". Korean Arts Association of Arts Management 65 (28 de febrero de 2023): 211–38. http://dx.doi.org/10.52564/jamp.2023.65.211.

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In August 2022, the International Council of Museums (ICOM) held a general meeting and adopted a new museum definition, which emphasized “diversity”, “sustainability”, and “ethics”, while the expression of “non-profit” was changed to “not-for-profit”. Discussions on non-profit or not-for-profit of museums and art museums are not new, but discussions on whether non-profit or not-for-profit is a prerequisite for museums and galleries under the Promotion Law for Museum and Art Museums of Korea are supposed to intensify in line with ICOM’s revision of definition of museums. In particular, considering that many of the materials of museums and art museums of academic, artistic, educational, and historical value, including national treasures, are held in private museums or private art galleries, controversies over for-profit activities of museums and art museums are expected to intensify in the future. Therefore, it is more necessary than ever to reconsider the scope and allowable making-profit activities of museum and art museums under the Promotion Law for Museum and Art Museums of Korea, taking into account the role of museums and art museums and various environmental changes surrounding museums and art museums. In this regard, this paper reviewed the fact that the introduction of non-profit or not-for-profit prerequisite for the registration into the Promotion Law for Museum and Art Museums of Korea could be a problem in terms of legal stability and excessive restrictions on freedom of occupation in current situation, where private or for-profit corporations have been registered and operated as private museums or art museums under the Promotion Law for Museum and Art Museums of Korea. However, terms of non-profit or not-for profit does not mean banning of all profitable activities, and thus detailed standards need to be prepared, considering that the criteria for for-profit activities are unclear and it is not easy to evaluate for-profit activities in the business plan in the course of reviewing museums and art museums to give supports and aids to them. In addition, it is necessary to revise related articles for the overall reorganization of the registration and support system for museums and art museums.

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Aldes, Liora y Tally Katz-Gerro. "Contextualizing the Artistic Repertoire in Museums". Museum Worlds 10, n.º 1 (1 de julio de 2022): 93–111. http://dx.doi.org/10.3167/armw.2022.100108.

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To remain financially sustainable while promoting cultural activity and operating within artistic, symbolic, and cultural norms, museums must consider a multitude of commercial and organizational elements. This article examines the impact of economic, organizational, and structural characteristics of art museums on the repertoire of art they exhibit. Using a mixed-methods approach, we draw on data pertaining to 11 art museums in Israel that are supported by the Ministry of Culture, analyzing administrative data collected yearly from the museums from 2000 to 2014. Next, we analyze 20 interviews with museum directors, curators, and artists to further explore the findings that emerge from the analysis of administrative data. Findings indicate three factors that influence a museum’s artistic repertoire: revenue structure, museum location (center or periphery), and the museum director’s preferences. We discuss these factors and explain the significant role that nonartistic factors play in shaping cultural outcomes.

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Dmitrievna, Evallyo Violetta. "Online Museums as a Complex Work of Art". Perspectiva Filosófica 50, n.º 2 (4 de octubre de 2023): 150–69. http://dx.doi.org/10.51359/2357-9986.2023.259054.

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Since the 21st century, digitalization has been actively implemented in all spheres of life, and this trend is relevant for Russian museums. The main content of the museum's digital environment is characterized by visual diversity and various communication accents. The same theme or exhibitions can be exploited in various visual forms, which allows you to see different shows. An important component of visual content is its split-screen implementation, which partially restores the lost material architectonics to the abstract digital space, or rather, creates an illusion of such a process. The purpose of this article is to analyze the digital museum as a complex art object. As a result of the study, it is concluded that the key features of the subject are media integration, the variability of communication modes, game manipulation of exhibiting objects, and in some cases overacted conceptuality. Communication with the digital museum’s content includes elements of interactivity, virtual immersion in the environment. All of these are characterized by a mostly private tone. By all its activities in the virtual media environment, the museum demonstrates the desire to correspond to modernity, to be an integral element of today's public culture, to have a memorable image.

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BAKHODIROV, Shakhzod L. "ART SHOP AT MUSEUMS OF UZBEKISTAN". Art and Design: Social Science 02, n.º 03 (1 de junio de 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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Golat, Rafał. "AMENDMENTS TO THE ACT ON MUSEUMS". Muzealnictwo 59 (16 de abril de 2018): 34–38. http://dx.doi.org/10.5604/01.3001.0011.7614.

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The Act of 21 November 1996 on museums, which has been in force for over 20 years (Journal of Laws of 2017, item 972, as amended), has been amended dozen or more times. Seven of these amendments entered into force in the last two years (2016–2017). They were to a large extent of adjustment character, and concerned inter alia the competence requirements for museum professionals (Journal of Laws of 2017, item 60), removals of museum exhibits from museum inventory (Journal of Laws of 2016, item 1330, and of 2017, item 1086) and the Council of Museums being replaced by the Council of Museums and Memorial Sites (Journal of Laws of 2016, item 749). Amendments concerning the admission charges in museums were of systemic character (Journal of Laws of 2017, item 132) as well as the restitution amendments introduced in Article 57 of the Act of 25 May 2017 on restitution of the national cultural goods, including a new penal provision added to the Act on museums (Art. 34.a in a new chapter 5.a – Journal of Laws of 2017, item 1086). Apart from amendments described in this article, others ought to be mentioned – related to an informative aspect. In this context, the amendments to the Act on museums being in force since 16 June 2016, provided for in Article 29 of the Act of 25 February 2016 on the re-use of public sector information (Journal of Laws of 2016, item 352, as amended) are of great significance. References to this Act can be found in section 4 of Art. 25 and section 4 of Art. 25.a of the Act on museums, added by this amendment, which regulate introducing and charging fees for museum exhibits being prepared and made accessible for different from usual purposes, and for permitting to use their images. Article 31.a of the Act on museums added by this amendment has been repealed by the Art. 34 of the Act of 10 June 2016 on delegating customer services to employees (Journal of Laws of 2017, item 132). The latter Act added Article 30.a of the Act on museums, related in its contents to this regulation. It states that the access to information for safeguarding museum exhibits is limited for the sake of protection from fire, theft and other type of danger which could bring damage or loss of the museum collection.

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Karczewski, Leszek. "Distributed Community. Participatory Actions and Organizational Culture of a Museum Institution". Nauki o Wychowaniu. Studia Interdyscyplinarne 18, n.º 1 (30 de junio de 2024): 155–63. http://dx.doi.org/10.18778/2450-4491.18.12.

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The article discusses the consequences of participatory actions in a museum exemplified by the Find Art exhibition presented at the Muzeum Sztuki Lodz in 2017. It focuses on the transformative impact of participatory projects on museum culture and organizational structure. Museums have shifted from collection-driven entities to audience-oriented institutions, blurring lines between entertainment, education, and cultural heritage. The author highlights the changing paradigm of museums from old to new museology, critiquing power structures within museums. Based on the analysis of the Find Art exhibition the author argues that participatory projects reconfigure a museum institution, creating a Protean community of multi-functional collaborations that challenge conventional museum roles. He suggests a post-critical approach, defining a “distributed museum,” where networks of dependencies redefine the museum’s role beyond traditional boundaries. The author acknowledges the diverse contributions within the distributed museum, encompassing both formal and informal entities and addresses potential implications of exploitation within this dynamic community.

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Jacknis, Ira. "Anthropology, Art, and Folklore". Museum Worlds 7, n.º 1 (1 de julio de 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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Kang, Donghyun, Haram Choi y SangHun Nam. "Learning Cultural Spaces: A Collaborative Creation of a Virtual Art Museum Using Roblox". International Journal of Emerging Technologies in Learning (iJET) 17, n.º 22 (28 de noviembre de 2022): 232–45. http://dx.doi.org/10.3991/ijet.v17i22.33023.

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This study proposes education on creating virtual art museums using metaverse technology to broaden the understanding of art museums. It investigates the effect of creating a virtual art museum using Roblox Studio, a metaverse platform, on the acquisition of knowledge about art museums, artists, and artworks and the ability to create metaverse content. This study selected the Moonshin Art Museum (MAM), the art museum to be created in the metaverse space, as its local cultural space. Fifteen students participated in a creation workshop to learn to create virtual spatial content using Roblox Studio and also visited an actual art museum. The students were then assigned to architecture, artwork, avatar, and content teams and collaborated with one another. To evaluate the activities, students filled out pre- and post-questionnaires containing items about the MAM, the sculptor Moonshin, and Moonshin’s artwork, as well as the ability to produce metaverse content. Findings showed that creating a virtual art museum through a metaverse platform facilitates the acquisition of spatial knowledge about art museums as well as information about artists and artworks. In addition, collaboration not only helped in the creation task but also identified and solved technical difficulties and improved creative abilities. These results suggest possibilities for using metaverse technology in delivering education regarding virtual art museums.

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Tesis sobre el tema "Art museums"

Barr, Mary J. Hobbs Jack A. "Functions of art museums as perceived by art museum educators and directors". Normal, Ill. Illinois State University, 1988. http://wwwlib.umi.com/cr/ilstu/fullcit?p8818707.

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Thesis (Ed. D.)--Illinois State University, 1988.
Title from title page screen, viewed September 2, 2005. Dissertation Committee: Jack Hobbs (chair), Susan Amster, John McCarthy, William Talone. Includes bibliographical references (leaves 99-103) and abstract. Also available in print.

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Smith, 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.

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McFelter, Gypsy. "Is the price right? : Admission fees and free admission in American art museums /". [Pleasant Hill, Calif. : John F. Kennedy University Library], 2006. http://library2.jfku.edu/Museum_Studies/Is_the_Price_Right.pdf.

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

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

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Ng, Victor. "Art ropolis : redefining the museum of (new) art, TST /". Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946080.

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Din, Herminia Weihsin. "A history of children's museums in the United States, 1899-1997: implications for art education and museum education in art museums". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1247850292.

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Din, Herminia. "A history of children's museums in the United States, 1899-1997 : implications for art education and museum education in art museums /". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204279663.

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Goldwhite, Phil. "Frames ate the art, frames are the art, the camera is the art, the text is the art, the thing is the art, art is the art /". Online version of thesis, 1995. http://hdl.handle.net/1850/12203.

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Kellogg, Smith Martha. "Viewer tagging in art museums: Comparisons to concepts and vocabularies of art museum visitors". dLIST, 2006. http://hdl.handle.net/10150/105154.

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As one important experiment in the social or user-generated classification of online cultural heritage resources collections, art museums are leading the effort to elicit keyword descriptions of artwork images from online museum visitors. The motivations for having online viewers - presumably largely non-art-specialists - describe art images are (a) to generate keywords for image and object records in museum information retrieval systems in a cost-effective way and (b) to engage online visitors with the artworks and with each other by inviting visitors to express themselves and share their descriptions of artworks. This paper explores the question of how effective non-specialist art keyworders can be in capturing ("tagging") potentially useful concepts and terms for use in art information retrieval systems. To do this, the paper compares evidence from art museum visitor studies which describe how non-specialist art viewers react to and describe artworks and use museum-supplied information in their initial encounters with artworks. A theoretical model of artwork interpretation derived from art museum visitor research provides a framework with which to examine both the activity and the products of artwork tagging for image and information retrieval.

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Gray, Pamela Clelland. "Public learning and the art museum : future directions /". View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030407.154108/index.html.

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Libros sobre el tema "Art museums"

1933-, Paek Sŭng-gil y Korea (South) Munhwa Chʻeyukpu, eds. Museums & art museums of Korea. Seoul, Republic of Korea: Ministry of Culture & Tourism, 1999.

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M, Pearce Susan, ed. Art in museums. London: Athlone, 1995.

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Renzo, Piano. Renzo Piano museums. New York: Monacelli Press, 2007.

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Renzo, Piano. Renzo Piano museums. New York: Monacelli Press, 2007.

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Giles, Waterfield, Dulwich Picture Gallery y National Gallery of Scotland, eds. Palaces of art: Art galleries in Britain, 1790-1990. London: Dulwich Picture Gallery, 1991.

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Cleveland Museum of Art. The Cleveland Museum of art: Art spaces. New York, NY: Scala Arts Publishers, Inc., 2013.

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Schuster, J. Mark Davidson. The audience for American art museums. Washington: Seven Locks Press, 1991.

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Federico, Soriano, Dolores Palacio y Daniel Lacasta Fitzsimmons. The museum of all museums. Madrid: Fisuras Magazine, 2011.

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McDermott-Lewis, Melora. The Denver Art Museum Interpretive Project. [Denver]: Denver Art Museum, 1990.

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Papafava, Fracesco. Vatican Museums classical art. [Vaticano]: Monumenti, Museie Gallerie Pontificie, 1985.

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Capítulos de libros sobre el tema "Art museums"

Marcus, Alan S., Jeremy D. Stoddard y Walter W. Woodward. "Art Museums". En Teaching History with Museums, 189–206. Second edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315194806-9.

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Nikonanou, Niki, Panagiotis A. Kanellopoulos, Elena Viseri y Elina Moraitopoulou. "Educational Commons in Art Museums". En Educational Commons, 151–72. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51837-9_9.

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AbstractThis chapter reports on four case studies that took place at four museums of the Metropolitan Organisation of Museums of Visual Arts (MOMus) in Thessaloniki, Greece, the Museum of Contemporary Art, the Experimental Center for the Arts, the Museum of Photography and the Museum of Modern Art-Costakis Collection. Different groups of young people participated in case studies that sought to bring together educational commons and collaborative artistic experimentation, leading to the co-creation of artistic projects. The chapter focuses on how commoning processes might contribute to the transformation of the museum towards an open-source institution through the cultivation of commoning practices in museum education. We also highlight the value of delving into forms of creative artistic engagement that induce unlearning traditional roles and questioning hierarchical power distribution.

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Frey, Bruno S. "Museums". En Economics of Art and Culture, 77–88. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_10.

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Kontogiorgi, Annie. "Sponsoring national art". En Museums and Entrepreneurship, 12–34. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003381402-2.

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Shipps, Rachel. "People inside Museums". En Museum-based Art Therapy, 133–47. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014386-9.

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Caulfield, Sean. "Art, Museums, and Culture". En Enhancing Cognitive Fitness in Adults, 301–23. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-0636-6_19.

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Illes, Aniko y Pablo P. L. Tinio. "Experiencing art in museums". En The Routledge International Handbook of Neuroaesthetics, 423–37. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003008675-24.

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Thumim, Nancy. "Museums and Art Worlds". En Self-Representation and Digital Culture, 104–35. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137265135_5.

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Connock, Alex. "Museums and Art Galleries". En Media Management and Live Experience, 305–27. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003435167-20.

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Schatzki, Theodore. "Artworks in Art Museums". En Conservation of Contemporary Art, 17–32. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42357-4_2.

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AbstractThis essay gives an overview of what is involved in using practices to analyze art in art museums. It begins by discussing the general use of theories of practices in this context, drawing a contrast with actor-network theory. The essay then conceptualizes art and art museums as parts of material arrangements, which people encounter as they carry on certain practices. Topics considered include the polysemy of art works, their contributions to spatiality, the multiple relations that link practices and art works, and the materiality of the works (including the contribution this materiality makes to their identity). A final section examines art works in relation to social change. It argues that, although art works of the sorts found in museums only rarely are directly responsible for social change—art in this regard is a conserving force—, they can importantly contribute indirectly to social change by altering minds.

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Actas de conferencias sobre el tema "Art museums"

Güner, Atiye y İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization". En 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.

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Joseph, Michael. ""Museums Are Wormholes to Other Worlds": Art Museums as Sites of Teaching History Pedagogy". En 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2011773.

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Graham, Beryl S. "Museums, New Media Art, Documentation and Collection". En Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.37.

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Ilisevic, Dijana, Natasa Banovic-Curguz y Sarita Vujkovic. "Creating of Digital Life in Art Museums". En 2020 43rd International Convention on Information, Communication and Electronic Technology (MIPRO). IEEE, 2020. http://dx.doi.org/10.23919/mipro48935.2020.9245418.

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Ásványi, Katalin, Zsuzsanna Fehér y Melinda Jászberényi. "THE CRITERIA FRAMEWORK FOR SUSTAINABLE MUSEUM DEVELOPMENT". En Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.3.

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Purpose –The purpose of this study is to identify the criteria for sustainable museums found in reference literature and specified in our research, and to suggest guidelines for museums to follow. Methodology –In our primary research, the criteria for a sustainable museum were interpreted along four pillars, for which in-depth expert interviews were conducted with Hungarian museum professionals. Semi-structured interviews were used to explore the viewpoints, expectations, and perceptions of museum staff. Findings – In terms of environmental sustainability, Hungarian contemporary museums place less emphasis on making the museum building itself more sustainable. However, it is worthwhile for institutions that have long-term plans to become more and more eco-friendly. The issue of economic sustainability is the most problematic for Hungarian museums, which can be greatly improved with an active support community that helps museums either through volunteer work or financially. From a social point of view, one of the most important tasks of museums is to ensure equal opportunities, to reach the widest possible range of people, which is facilitated if the museum can function as a community space that adequately involves museum visitors and if it continuously strengthens its role in education. In terms of cultural sustainability, the responsibilities of museums are collection management, maintaining quality, and artistic vitality. Contribution – We conceptualize and provide a framework for sustainable museums. Through our research, we have contributed to broadening the theoretical background of sustainable museums from the perspective of contemporary art museums.

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Furini, Marco, Federica Mandreoli, Riccardo Martoglia y Manuela Montangero. "5 Steps to Make Art Museums Tweet Influentially". En 2018 International Workshop on Social Sensing (SocialSens). IEEE, 2018. http://dx.doi.org/10.1109/socialsens.2018.00020.

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Guo, Jie. "The Space Design of the Contemporary Art Museums". En Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.169.

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Benito, Victoria Lopez. "Art museums, mobile media and education: A new way to explain art?" En 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743840.

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Zizhiyan, Sergey. "TRENCH ART THE PERIOD OF THE GREAT PATRIOTIC WAR. PRIMITIVE ART ON BOTH FRONT LINES". En FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3649.khmelita-19/320-329.

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This article attempts to reveal the most characteristic features of “trench art” as a type of primitive art of the period of the Great Patriotic War and its role in the history of everyday life and military history. Through the prism of the analysis of artifacts stored in the funds of the GUK “Bykhovsky District Museum of Local Lore”, the finds of the search engines of the search group “Bykhovsky Frontier” tells about the items made by soldiers in the trenches on both front lines. The author attempts to typologize the objects of “trench art”, discusses the aspects of the creation and use of such artifacts, provides the main features regarding the methods of production and materials for manufacturing. Despite the fact that the complexes of these objects stored in many museums around the world are still not recognized as a separate art form in its classical sense, their role in military history and the history of everyday life of a soldier in war is undeniable, and deserves attention from researchers, historians and art historians.

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Ren, Li y Lingling Xu. "The Development of Cultural Creation in Museums: A Case Study of Beijing Palace Museum". En 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.028.

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Informes sobre el tema "Art museums"

Butyrina, Maria y Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, febrero de 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.

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Fullerton, Don. Tax Policy Toward Art Museums. Cambridge, MA: National Bureau of Economic Research, junio de 1990. http://dx.doi.org/10.3386/w3379.

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Kartheus, Wiebke. Art Museums in US Society. The Stacks, 2019. http://dx.doi.org/10.32784/libaac-418.

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Brison, Jeffrey, Sarah Smith, Elyse Bell, Antoine Devroede, Simge Erdogan, Christina Fabiani, Kyle Hammer et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.

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Dressel, Joanna y Liam Sweeney. How Have Art Museums Been Impacted by Climate Change? Ithaka S+R, marzo de 2023. http://dx.doi.org/10.18665/sr.318582.

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Yermack, David. Donor Governance and Financial Management in Prominent U.S. Art Museums. Cambridge, MA: National Bureau of Economic Research, abril de 2015. http://dx.doi.org/10.3386/w21066.

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Chung, Te-Lin y Sonali Diddi. Marketing art museums using social networking services: An identity salience model. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-647.

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Sweeney, Liam y Roger Schonfeld. Interrogating Institutional Practices in Equity, Diversity, and Inclusion: Lessons and Recommendations from Case Studies in Eight Art Museums. Ithaka S+R, septiembre de 2018. http://dx.doi.org/10.18665/sr.309173.

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Gallegos de Donoso, Magdalena. The Development of Sculpture in the Quito School. Inter-American Development Bank, octubre de 1994. http://dx.doi.org/10.18235/0007914.

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Soler Humanes, Ana. La Gestión de la Comunicación Externa Online con los Visitantes en los Museos y Centros de Arte en Málaga / The Online External Communication Management with the Visiting Public in Museums and Art Centers in Malaga. Revista Internacional de Relaciones Públicas, diciembre de 2013. http://dx.doi.org/10.5783/rirp-6-2013-11-197-216.

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