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1
Bolshakova, Yu M., S. N. Bolshakov et N. A. Mikhalchenkova. « Assessment of the pedagogical functions and practices of modern museums ». Vestnik of Saint Petersburg State University of Culture, no 3 (44) (septembre 2020) : 108–16. http://dx.doi.org/10.30725/2619-0303-2020-3-108-116.
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This article discusses the tasks of implementation of pedagogical functions by the modern museum community. The article interprets the results of a sociological study in the field of the implementation of pedagogical tasks by museums countries of Northern Europe and the Baltic. The relevance of the study lies in the disclosure of the pedagogical potential of museums in the world. The importance of the study lies in the possibility of choosing the forms and methods of pedagogical influence on pupils and students, museum visitors. The study demonstrates the unique capabilities of the museum community. The potential of museums consists not only in the preservation of objects of art and culture, but also in the promotion of civilizational values, the humanization of education, and the continuity of the values of world culture. An important result of the educational function of museums is not only the transfer of knowledge, but also the development of new creative skills in children and youth. The pedagogical potential of museums, as European practice shows, can be effective museum competitiveness strategies.
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Komova, О. « DIRECTIONS OF REFORMING THE MUSEUM SECTOR IN EUROPE : EXPERIENCE FOR UKRAINE ». Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, no 26 (9 janvier 2023) : 11–23. http://dx.doi.org/10.32589/2412-9321.26.2021.269853.
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The article research the main problems of the Ukrainian museum sector, analyzes museum reforms in the EU-member states over the last 20 years, and suggests the major vectors of museum reform in Ukraine based on the best practices of the Western European museology. The article deals with the forms and methods of activity of the museum institution within the framework of this action on successful dialogue with the public, effective use of information technologies. Communication capabilities of museums are related to their ability to communicate information with real objects directly or indirectly. The foundationof the communicative work of the museum is its foundations since the exhibition, and the educational and communicative projects organized on its basis are impossible without scientifically attributed and carefully preserved collections. Accordingly, the most effective channel of museum communication remains the exposition of the museum.Along with traditional forms and tools of museum communication, such as exhibition and exhibition, educational and educational, publishing, holding scientific conferences, the presentation of museums in the media, the new ones, connected with the development of modern information technologies, become especially important. These include museums’ websites, virtual museums, virtual tours and tours, QR codes, 3D technology, profiles of museums in social networks. It is the active development of the latter that will promote the broader communication of the museums with a broad audience of visitors, the expansion of inter-museum contacts, the integration of domestic museums into the world museum community. Methodological basis of work is a comprehensive and systematic approaches involving methods of analysis, synthesis, comparative history, descriptive methods and methods of «oral history». It was proved that at the present stage museums act as intermediaries in solving complex social problems and conflicts; projects, as an effective form of implementing social activity of museums, contribute to the adaptation of museums and the museum industry as a whole to modern conditions of socio-economic and cultural life, support and promotion of the best examples of creative museum practices in Ukrainе.
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Meyer, Caspar. « Ancient vases in modern vitrines : the sensory dynamics and social implications of museum display ». Bulletin of the Institute of Classical Studies 63, no 1 (1 juin 2020) : 91–109. http://dx.doi.org/10.1093/bics/qbaa009.
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Abstract This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey of the different traditions of display in Britain and continental Europe highlights the shift from the multisensory engagements in early modern elite collections with vases as evidence of ancient custom to the selective viewing of the objects’ painted decoration as works of art whose proper interpretation called for classical education.
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Nijhoff, Michiel. « The early history of the Stedelijk Museum library : the Kloet years ». Art Libraries Journal 33, no 4 (2008) : 14–16. http://dx.doi.org/10.1017/s030747220001556x.
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On 5 May 2007, the Stedelijk Museum library in Amsterdam was exactly 50 years old – although a collection of books known as ‘the library’ began long before that in the building on the Paulus Potterstraat. Louis Kloet was the first librarian. He founded and ran the library from 1953 until 1980, a period in which the collection and the number of visitors grew steadily and it evolved into one of the most important libraries of modern art in Europe.
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Ian Shin, K. « The Chinese Art “Arms Race” ». Journal of American-East Asian Relations 23, no 3 (27 octobre 2016) : 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
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Rangel-de Lázaro, Gizéh, Adrián Martínez-Fernández, Armando Rangel-Rivero et Alfonso Benito-Calvo. « Shedding light on pre-Columbian crania collections through state-of-the-art 3D scanning techniques ». Virtual Archaeology Review 12, no 24 (19 janvier 2021) : 1. http://dx.doi.org/10.4995/var.2021.13742.
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<p class="VARAbstract">During the 19<sup>th</sup> and 20<sup>th</sup> centuries, numerous museums, scientific societies, and royal academies were founded in Europe and America. In this scenario, the Anthropological Museum Montané was founded in Havana, Cuba. Its collection has grown over the years, thanks to researchers, antiquarians, and amateurs. Since its foundation, the Museum Montané has become an essential institution for anthropological and archaeological research in the region. Nowadays, the Museum Montané, like other museums in developing countries, faces a challenge in the introduction of state-of-the-art technologies to digitizing exhibits and the creation of innovative projects to attract visitors. The current possibilities of virtualization of cultural heritage using digital technologies have a favorable impact on the preservation, access, and management of museum collections. The use of three-dimensional (3D) models fosters engagement with visitors, stimulates new forms of learning, and revalorizes the exhibits. In the current study, we use a hand-held structured light scanner to create 3D reality-based models of pre-Columbian crania from the Caribbean and South American collection of the Anthropological Museum Montané. The resulting 3D models were used for producing 3D printing replicas and animated videos. The 3D resources derived will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities. The significance of digitizing these specimens goes beyond the creation of 3D models. It means protecting these fragile and valuable collections for future generations. The methodology and results reported here can be used in other museums with similar collections to digitally document, study, protect, and disseminate the archaeological heritage. Going forward, we seek to continue exploring the application of novel methods and digital techniques to the study of the pre-Columbian crania collections in Latin American and the Caribbean area.</p><p class="VARAbstractHeader">Highlights:</p><ul><li><p>A hand-held structured light scanner was used to acquire 3D reality-based models of pre-Columbian crania. The 3D models resulting were used for 3D printing replicas and 3D animations.</p></li><li><p>This study provides unprecedented 3D reconstructions of pre-Columbian crania in the Caribbean area, and new 3D reconstructions of artificially deformed crania from South America.</p></li><li><p>The 3D resources created will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities.</p></li></ul>
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de Chermont, Isabelle le Masne. « The architecture of museum libraries : an overview of the years 2000 to 2003 ». Art Libraries Journal 29, no 3 (2004) : 28–31. http://dx.doi.org/10.1017/s0307472200019039.
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In recent years many museums and art galleries in Europe have remodelled their libraries, often funding the physical changes by means of sponsorship, while at the same time re-thinking access and the services to be provided. This article analyses some current examples in Paris, London and the Netherlands and describes a range of different approaches. But it finds most successful the British Museum’s Paul Hamlyn Library, housed in the famous circular Reading Room and open to all visitors: these will discover, that, alongside modern databases, the Library has kept its traditional links with the book.
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Svyrydenko, N. « Music in museum (second half of 20th century, Ukraine) ». Musical art in the educological discourse, no 3 (2018) : 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Petrov, Julia. « Visitors to Versailles (1682–1789) Metropolitan Museum of Art, New York, NY April 16–July 29, 2018 Casanova’s Europe : Art, Pleasure, and Power in the 18th Century Museum of Fine Arts, Boston, MA July 8–October 8, 2018 ». Dress 45, no 1 (2 janvier 2019) : 99–102. http://dx.doi.org/10.1080/03612112.2019.1565655.
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Thouki, Alexis. « The Role of Ontology in Religious Tourism Education—Exploring the Application of the Postmodern Cultural Paradigm in European Religious Sites ». Religions 10, no 12 (26 novembre 2019) : 649. http://dx.doi.org/10.3390/rel10120649.
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The cultural and spiritual repository of religion is an indispensable resource for shaping public and cultural life in a post-secular era. Although the floods of culturally intrigued ‘pilgrims’ and spiritually ‘captivated’ tourists have marked religious sites on nationwide cultural maps, religious sites have yet to achieve a holistic interpretative experience which will reveal the deeper meanings of ecclesiastical art. The absence of ‘holistic interpretations’ from European Christian churches, addressing the tangible and intangible (faith) aspect of Christian tradition, run the risk of undermining both the cognitive and emotive aspects of visitors. Following a thematic analysis on interpretations found at Orthodox, Catholic and Protestant churches in Europe, this article investigates how religious sites adapt different interpretational strategies to communicate their stories. The findings are discussed with reference to heritage practices found at religious sites expressed through two coexisting cultural ideologies: the prominent postmodern cultural paradigm, expressed through New Museology, and the religious cultural paradigm, expressing religious tradition and vision. The research concludes that the more content a denomination appears to be over the postmodern cultural paradigm of New Museology, the more likely it is to experiment with postmodern interpretative strategies. In this context, the article raises the question of whether museum theory is applicable to religious settings. The bottom line is that stakeholders’ ontological presuppositions are the catalyst of how religious history, tradition, and faith, are negotiated and presented in religious settings.
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Majhosev, Darko. « CHARACTERISTICS OF THE CITY TOURISM WITH ACCENT ТО ТHE CITY TOURISM IN THE REPUBLIC OF MACEDONIA ». KNOWLEDGE INTERNATIONAL JOURNAL 30, no 1 (20 mars 2019) : 267–75. http://dx.doi.org/10.35120/kij3001267m.
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With their cultural and historical contents, cities have always attracted tourists, thus contributing to creating a new kind of tourism - city tourism. The potentials of cities have contributed to creating other types of tourism such as fair, cultural, congressional, sports, religious tourism, etc. City breaks have become a contemporary trend and a phenomenon in world tourism, which an increasing number of tourists is becoming more interested in, and these tourists want to spend their short breaks, holidays or weekends in them. Comprehensive and short visits to major cities offer an opportunity to discover their tourist values such as ambience, architecture, culture, art, people, customs, etc. Basically, urban tourism is an activity that takes place in urban areas. City break is the third most important type of tourism in international tourism and the third most important type of vacation and traveling in Europe after ―sun and beach‖ and ―tour‖. In the last three decades, tourism in the world has been witnessing a constant growth of city break. The growth of this type of tourism is associated with the growth of the urban population in the world. City break tourism gives an impetus to the revitalization of urban areas. Historic cores of cities and pedestrian zones are urban spaces that appeal to visitors and are always attractive places visited by most tourists in all seasons. One of the most common activities of city break is seeing the sights of a city, its attractions, museums, galleries and historical landmarks, most often with a special open-type bus with a tour guide.
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Whittington, Vanessa. « Decolonising the museum ? » Culture Unbound 13, no 2 (8 février 2022) : 245–69. http://dx.doi.org/10.3384/cu.3296.
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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
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Ajayi, Joseph Babatunde. « Importance of Art Museum and its Influence on Behavioral Intention of Visitors ». Advances in Multidisciplinary & ; Scientific Research Journal Publications 12 (2024) : 2–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3x.
Texte intégralRésumé :
This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 2, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3x
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Ajayi, Joseph Babatunde. « Importance of Art Museum and its Influence on Behavioral Intention of Visitors ». Advances in Multidisciplinary and scientific Research Journal Publication 12 (2024) : 23–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3.
Texte intégralRésumé :
This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they were satisfied with the art museum visited. Furthermore, hypothesis revealed that there is a significant relationship between satisfaction of the visitors and their behavioural intention towards art museums. Therefore, art museums should be promoted more since they serve as educative and entertaining means of promoting knowledge or art exhibits and local culture of the populace. Keywords: Art, Museum, Perception, Visitors, Satisfaction Journal Reference Format: Ajayi, J.B. (2024): Importance of Art Museum and its Influence on Behavioral Intention of Visitors. Humanities, Management, Arts, Education & the Social Sciences Journal. Vol. 12. No. 1, Pp 23-30. www.isteams.net/humanitiesjournal. dx.doi.org/10.22624/AIMS/HUMANITIES/V12N2P3
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Falk, John H. « Viewing Art Museum Visitors Through the Lens of Identity ». Visual Arts Research 34, no 2 (1 décembre 2008) : 25–34. http://dx.doi.org/10.2307/20715472.
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Abstract Based upon the findings of hundreds of long-term interviews with museum visitors, Falk observes that museum visits generate complex, personally rich meanings for people. He hypothesizes that visitors have a working model of what an art museum affords and self-select to use the museum based on a limited set of identity-related self-aspects—traits, roles, attitudes, and group memberships associated with self-identification. He further hypothesizes that visitors utilize these self-aspects both prospectively in justifying their visit, revealed through self-defined visit motivations, and again retrospectively in order to make sense of their visit, revealed when reflecting upon and describing their visit. Although museum visitors could posses an infinite number of identity-related museum self-aspects, this does not appear to be the case; in general, the ways in which people describe their purpose for visiting museums tend to cluster into five basic categories. The results of numerous studies indicate that a majority of museum visitors can be categorized as possessing a single dominant one of these five identity-related motivations. The meanings made by individuals classified as falling within different motivational categories significantly differ, both in the short and long term. The article describes these five categories of identity-related visit motivations and provides initial thoughts about how these ideas might be used to improve art museum practice.
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Fitriana, Rina, Nurima Rahmitasari et Marcelina Yoseli. « Analisis Motivasi Pengunjung Museum Macan Jakarta ». Jurnal Ilmiah Pariwisata 25, no 1 (31 mars 2020) : 76. http://dx.doi.org/10.30647/jip.v25i1.1362.
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MACAN Museum (Museum of Modern and Contemporary Art in Nusantara) has a wide collection of modern and contemporary Indonesian arts up to the first international scale in Indonesia, and is one of the tourist attractions in Jakarta that is preferred by various circles. The collection is packaged with the concept of art shows and exhibitions that can be enjoyed by every visitor. This research aims to analyze the motivation of visitors coming to the museum using quantitative descriptive methods. Unit of analysis is the visitors of MACAN museum, meanwhile the independent variable is the visitors’ motivation. Data was taken by giving questionnaire to 100 respondents, having observation, and doing structured interviews. The data were analyzed by excel and presented in the frequency table and pie chart. The results showed that of the four motivations, cultural motivation obtained the highest value as the most motivating factor for visitors with a value of 4.19, and the average total value of the four motivations is 3.84 which states that visitors are motivated to visit the MACAN museum.
Keywords: MACAN Museum, Visitor Motivation, MICE, Contemporary Art
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최성희. « Visitors' Narrative Identities at an Art Museum ». Journal of Research in Art Education 9, no 1 (janvier 2008) : 135–49. http://dx.doi.org/10.20977/kkosea.2008.9.1.135.
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Jurėnienė, Virginija, et Dovilė Peseckienė. « Art Gallery Visitors’ Motivations ». Informacijos mokslai 89 (5 juin 2020) : 17–33. http://dx.doi.org/10.15388/im.2020.89.37.
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The article discusses the motivational factors of visual art institution consumers. Analysis includes Falk’s identity-related theory of motivation for visiting art institutions that discusses how visitors’ experience begins before visiting a museum and is focused on the consumer’s attitude (identity) validation. Consumers’ motivation to visit an art institution depends on not only the proposals provided by the institution and their value to the consumer, but also on accessibility, the environment, and the personnel’s communication. The article introduces the motivations, expectations of consumers of the services provided by Kaunas Picture Gallery as well as evaluation of the services and infrastructure provided by the organisation obtained during study Visitors’ Expectations in Visual Art Institutions.
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Roth, Emily. « Open to all museum visitors : the Uris Library in the Metropolitan Museum of Art ». Art Libraries Journal 24, no 4 (1999) : 26–28. http://dx.doi.org/10.1017/s0307472200019775.
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The Uris Library and Teacher Resource Center is the only library in the Metropolitan Museum of Art open to all Museum visitors. Its 6,000 books, 900 videos and growing numbers of CD-ROMs and electronic resources serve ever increasing numbers of the Museum’s public. Students and teachers, Museum members, Museum educators and volunteers, as well as general Museum visitors all use the Library.
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Željka Miklošević, Željka. « Fostering inclusion in art museums through mobile digital content ». Muzeológia a kultúrne dedičstvo 9, no 4 (2021) : 5–19. http://dx.doi.org/10.46284/mkd.2021.9.4.1.
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This paper deals with digitally mediated museum experiences of novice visitors at the Kunsthistorisches Museum in Vienna and discusses them in the context of museum inclusion. Research participants included families with young children and members of minority communities in Vienna whose visit was facilitated by two app-based guided tours developed for children. The research goal was to explore the impact of the mobile guide’s digital content and modes of communication on the visitors’ interaction with the guide, with the museum space and objects, and with family members. The families’ interactions were observed, recorded and analyzed. The results suggest that carefully considered and created content on mobile guides has the potential to provide novice family visitors with experiences that support their independence and active engagement, create opportunities for mutual facilitation, and support their different identities, all of which have been considered as conducive to inclusion.
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Yi, Taeha, Hao-yun Lee, Joosun Yum et Ji-Hyun Lee. « The influence of visitor-based social contextual information on visitors’ museum experience ». PLOS ONE 17, no 5 (24 mai 2022) : e0266856. http://dx.doi.org/10.1371/journal.pone.0266856.
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Visitor-centered approaches have been widely discussed in the museum experience research field. One notable approach was suggested by Falk and Dierking, who defined museum visitor experience as having a physical, personal, and social context. Many studies have been conducted based on this approach, yet the interactions between personal and social contexts have not been fully researched. Since previous studies related to these interactions have focused on the face-to-face conversation of visitor groups, attempts to provide the social information contributed by visitors have not progressed. To fill this gap, we examined such interactions in collaboration with the Lee-Ungno Art Museum in South Korea. Specifically, we investigated the influence of individual visitors’ social contextual information about their art museum experience. This data, which we call “visitor-based social contextual information” (VSCI), is the social information individuals provide—feedback, reactions, or behavioral data—that can be applied to facilitate interactions in a social context. The study included three stages: In Stage 1, we conducted an online survey for a preliminary investigation of visitors’ requirements for VSCI. In Stage 2, we designed a mobile application prototype. Finally, in Stage 3, we used the prototype in an experiment to investigate the influence of VSCI on museum experience based on visitors’ behaviors and reactions. Our results indicate that VSCI positively impacts visitors’ museum experiences. Using VSCI enables visitors to compare their thoughts with others and gain insights about art appreciation, thus allowing them to experience the exhibition from new perspectives. The results of this novel examination of a VSCI application suggest that it may be used to guide strategies for enhancing the experience of museum visitors.
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Yoo, Arim, et Sae June Kim. « A Study on Museum Visitors’ Emotion by Visitors’ Art Exhibition Experience ». Korean Arts Association of Arts Management 48 (30 octobre 2018) : 5–45. http://dx.doi.org/10.52564/jamp.2018.48.5.
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Vesci, Massimiliano, Emanuela Conti, Chiara Rossato et Paola Castellani. « The mediating role of visitor satisfaction in the relationship between museum experience and word of mouth : evidence from Italy ». TQM Journal 33, no 1 (8 juillet 2020) : 141–62. http://dx.doi.org/10.1108/tqm-02-2020-0022.
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PurposeThis paper aims to analyse the quality of experience in the Italian art museum context and to understand the mediating role of satisfaction between museum experiences and visitors' word-of-mouth (WOM) behavioural intentions.Design/methodology/approachThis exploratory study adopted a quantitative methodology. Visitors to Italian art museums were interviewed, and the results were examined using exploratory factor analysis and regression analysis.FindingsThe analysis shows that the following museum experience dimensions were present in the Italian art museum context: aesthetics, escapism and “edumotion”. Further, these dimensions positively affected visitors' overall satisfaction which mediates on WOM behavioural intentions.Research limitations/implicationsThe small sample limits the generalisability of findings, and further research on the topic is recommended.Practical implicationsMuseums should allocate resources to improve visitor experience, visitor satisfaction and museum attractions. Specifically, museum managers should invest in the three dimensions that emerged from this study.Originality/valueThis study enriches the empirical evidence on experiential marketing in the museum context by focussing on the mediating role of overall satisfaction in the relationship between museum experience and WOM behaviours. To the best of the authors' knowledge, this is the first study investigating this phenomenon in Italian museums.
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López Sintas, Jordi, Ercilia García Álvarez et Elena Pérez Rubiales. « Art museum visitors : interaction strategies for sharing experiences ». Museum Management and Curatorship 29, no 3 (27 mai 2014) : 241–59. http://dx.doi.org/10.1080/09647775.2014.919175.
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Hall, Margery J. « Information presentation format preferences of art museum visitors ». Journal of Business and Psychology 2, no 3 (1988) : 279–84. http://dx.doi.org/10.1007/bf01014045.
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Vykhodtsev, E. P. « TELEGRAM AS A MEANS OF COMMUNICATION WITH ART MUSEUM VISITORS ». Topical Issues of Culture, Art, Education 39, no 1 (2024) : 16–23. http://dx.doi.org/10.32340/2949-2912-2024-1-16-23.
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The article is devoted to the analysis of the possibilities of using the Telegram messenger as part of the information activities of an art museum. Various aspects of the integration of this digital tool into the information museum space and its impact on the audience are considered, as well as the potential opportunities and challenges associated with this process are assessed. The article focuses on the importance of social media and messengers as tools to increase accessibility and expand the audience of art museums. The focus is on the ways Telegram can stimulate interactive learning, personal engagement, and community development around the museum. The paper analyzes cases of museum projects in Telegram, including the creation of channels, bots, questionnaires and integrated training programs, as well as studies the creation of museum content, the organization of quizzes and contests that promote in-depth study of art and increase cultural literacy among subscribers, in particular the art museums of the Kemerovo Oblast – Kuzbass.
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Carobbio, Gabriella, et Alessandra Lombardi. « Kunst kindgerecht erklärt – eine Fallstudie zu museumspädagogischen Erklärvideos ». Linguistik Online 124, no 6 (26 décembre 2023) : 85–111. http://dx.doi.org/10.13092/lo.124.10716.
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As young visitors represent “the museum audience of the future”, museums should be particularly committed to engaging children in museum experiences pursuing a child-oriented approach to art communication and education. The analysis of museum communication from a linguistic perspective seems thus a promising way of exploring the target-group-specificity of museum educational resources explicitly designed for addressing young audiences. Explanatory videos featured on museum websites which present the museum itself or masterpieces of its collections are examples of digital tools employed by museums to introduce children to art and encouraging them to become devoted visitors. The paper presents the findings of a case study of a sample of German and Italian museum explanatory videos for primary school children, aiming at analyzing the linguistic and multimodal strategies used by museums in order to transfer knowledge about art, artists and exhibitions in a child-centered explanatory style. Of particular interest in this context is the question of whether and to what extent these videos encourage a participatory, play-based access to art or enable an experience-oriented approach to art-related contents, as advocated by current trends in museum communication and education.
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Mangione, Gemma. « Making Sense of Things : Constructing Aesthetic Experience in Museum Gardens and Galleries ». Museum and Society 14, no 1 (9 juin 2017) : 33–51. http://dx.doi.org/10.29311/mas.v14i1.624.
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Studies of museum behaviour in sociology often examine how external environments shape organizational practice. Through an ethnographic study, this article considers programmes for visitors with disabilities at a major metropolitan art museum and botanical garden to ask how ‘sensory conventions’ vary across museums, and with what effects. I trace how museum staff construct the aesthetic experience of art and nature differently to shape how visitors use their senses, and which senses they use, when interacting with museum collections. Examining aesthetic meanings across different kinds of museums reveals these institutions’ differing local cultures and how such cultures affect visitor experience. In particular, aesthetic practices across museums facilitate varying opportunities for perception, and interactions that may privilege particular embodied capacities.Key words: art museums; botanical gardens; aesthetics; senses; disability
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Aumann, Antony. « In Defense of Art Museum Audio Guides ». Journal of Aesthetic Education 58, no 2 (2024) : 43–63. http://dx.doi.org/10.5406/15437809.58.2.04.
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Abstract This article aims to defend the value of art museum audio guides. Modern guides have many functions, but I will focus on two that pertain directly to art appreciation. First, audio guides offer tours that direct visitors’ attention to museum highlights. Second, they have individual stops that offer commentary and criticism about individual works of art. I will concede that the tours do not serve the interests of all visitors. However, I will defend the merits of the individual stops. In particular, I will argue that they provide information about the associated works that it would be difficult for us to learn just by looking at them for ourselves. In so doing, the guides put us in a better position to appreciate the works. Crucially, this benefit obtains even if art appreciation turns out to be subjective, must be undertaken autonomously, or has to be grounded in empirical observation.
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Mastandrea, Stefano, Gabriella Bartoli et Giuseppe Bove. « Learning through Ancient Art and Experiencing Emotions with Contemporary Art : Comparing Visits in Two Different Museums ». Empirical Studies of the Arts 25, no 2 (juillet 2007) : 173–91. http://dx.doi.org/10.2190/r784-4504-37m3-2370.
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The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.
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Hutama, Gusti Ngurah Kade Wahyu Ari, et I. Gusti Agung Oka Mahagangga. « Pengaruh Tanggapan Di Media Sosial Terhadap Pilihan Koleksi Bagi Pengunjung Interactive Art Museum Bali, Kota Denpasar ». JURNAL DESTINASI PARIWISATA 6, no 2 (1 janvier 2019) : 335. http://dx.doi.org/10.24843/jdepar.2018.v06.i02.p21.
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Interactive Art Museum Bali is the new one of tourists attraction in Denpasar City. Although classified as a new tourist attraction, but tourists visit the Interactive Art Museum Bali is always increasing every month. Based on that situation, the research is conducted for analyzing the influence of responses in social media on the collection options for visitors at the tourist attraction of Interactive Art Museum Bali, Denpasar City.
The data used in this research is quantitative data. Data analysis techniques used in this study are correlation analysis. The collected data in this study through observation, literature study, questionnaire, and visual material.Informant determination technique used is convenience sampling techniquewith the number of samples determined by the Slovin formula.
The results of this study obtained that the social media used by visitors who come to visit the Interactive Art Museum Bali is Instagram.The influence of responses in social media on collection options for visitors is seen from 3 classifications.First, according to the observing senses, has a correlation analysis of 0653 and 0.598.The second classification is according to the occurrence of having correlation analysis results of 0.627 and 0.668.The third characteristic is according to the environment has the result of correlation analysis of 0.564 and 0.585.
Keywords: Social Media, Response, Visitor, Collection, Interactive Art Museum Bali
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Jensen, Kirsten, et Karen Grøn. « The Kaleidoscope of Culture : expanding the museum experience and the museum narrative by inviting visitors into the curatorial process ». Museum and Society 13, no 3 (1 juillet 2015) : 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.
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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.
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Hyun, Hyowon, Jungkun Park, Tianbao Ren et Hyunjin Kim. « The role of ambiances and aesthetics on millennials’ museum visiting behavior ». Arts and the Market 8, no 2 (1 octobre 2018) : 152–67. http://dx.doi.org/10.1108/aam-04-2017-0006.
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Purpose The purpose of this paper is to establish a framework for millennials’ museum visiting behaviour and to explore the moderating effects of aesthetics and ambience for visiting art museums. This study uses the Stimulus–Organism–Response (S–O–R) model (Mehrabian and Russell, 1974) in order to confirm the relationship among variables. Design/methodology/approach The data were collected using online surveys from millennial art museum visitors who had visited a museum within three months. In all, 287 responses were collected. Structural equation modelling was used to analyse the model. Findings Korean millennial visitors pursue hedonic value rather than utilitarian value when they visit art museums. It turns out that hedonic value accelerates visitor satisfaction and promotes visitor loyalty more than utilitarian value in the art museum setting. Both ambiance and aesthetics play stimulating roles in the art museum context and moderate the relationships among visitor-perceived value, satisfaction and loyalty. Utilitarian values are identified as unimportant elements for young Korean museumgoers. Practical implications Ambiance and aesthetic factors play important roles in promoting art museum visits. An art museum may elevate its atmospheric factors by emphasising the visit’s fun value (i.e. hedonic value) for millennials. Originality/value This study expands on previous studies concerning conceptualization of multidimensional constructs of millennials’ value for experience of arts museums in terms of aesthetics and ambiance. The results also confirm the value of the S–O–R framework in an art museum context.
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Casano, Jonathan D. L., Jenilyn L. Agapito, Abigail S. Moreno et Ma Mercedes T. Rodrigo. « INF-Based Tracking and Characterization of Museum Visitor Paths and Behaviors Using Bluetooth Low Energy Beacons ». Journal on Computing and Cultural Heritage 15, no 2 (30 juin 2022) : 1–22. http://dx.doi.org/10.1145/3474830.
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This article presents a study that analyzes the visitor experience by using location data collected through Bluetooth Low-Energy (BLE) beacons. A visual analysis of the visitors’ behavior and interactions with the artworks at the Ateneo Art Gallery, the first museum of modern art in the Philippines, was conducted. The Immediate, Near, Far (INF) framework was built on top of earlier studies to provide a finer approximation of the visitors’ location in an enclosed space. It was used to operationalize the different metrics used to characterize visitors’ behaviors and such behaviors vis-á-vis tracked museum areas such as Holding Power and Attraction Power. Two additional metrics were introduced—the Re-Attraction Power and Nearness. This work strives to contribute to research on museum visitorship particularly within a developing world context.
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Carbon, Claus-Christian. « Art Perception in the Museum : How We Spend Time and Space in Art Exhibitions ». i-Perception 8, no 1 (janvier 2017) : 204166951769418. http://dx.doi.org/10.1177/2041669517694184.
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Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors ( N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s ( Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship ( r2 = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m ( M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research ( M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.
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Hayhoe, Simon. « Expanding Our Vision of Museum Education and Perception : An Analysis of Three Case Studies of Independent Blind Arts Learners ». Harvard Educational Review 83, no 1 (26 mars 2013) : 67–86. http://dx.doi.org/10.17763/haer.83.1.48170l3472530554.
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In this study, Simon Hayhoe investigates the experiences of blind museum visitors in the context of the relationships between the artworks they learned about in museums, those they experienced when younger, and the social, cultural, and emotional influences of their museum experiences. The three case studies he presents support his hypothesis that, for blind visitors, proximity to works of art is at least as important as perceiving the art itself. This finding questions Gombrich's theory of the economy of vision and Jay's theory of scopics and supports the notion that exclusion from art in this context is more passive than active.
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Hanquinet, Laurie. « Place and Cultural Capital : Art Museum Visitors Across Space ». Museum and Society 14, no 1 (9 juin 2017) : 65–81. http://dx.doi.org/10.29311/mas.v14i1.677.
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In the establishment of people’s lifestyles, places, and especially cities, havebecome central arenas for display and consumption, and have become part ofthe aesthetic experience itself. These changes have affected the composition ofcultural capital, which may have then taken an urban dimension. Art museumvisitors, often associated with highbrow culture, constitute an excellent case studyto explore the links between cultural capital and place. Based on a survey of 1900visitors of the six main museums of modern and contemporary art in Belgium,this article will focus on the distribution of the audience characterized by theircultural tastes and activities across the Belgian territory (through their postcodes).It shows that visitors mainly come from areas with high and moderate densityand that the socio-demographic but also urban characteristics of their place ofresidence can be related to the way visitors’ cultural capital is composed. Yet,it also suggests that places like cities (just like museums) form meeting places,in which co-exist and interact different stories, different trajectories and, as thisarticle shows, a multiplicity of lifestyles.Keywords: Museum visitors; Pierre Bourdieu; cultural capital; audiences; Belgium.
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Anwari, Hamdan, Fian Damasdino F et Fuadi Afif. « EDUCATING STUDENT AT MUSEUM ». NUSRA : Jurnal Penelitian dan Ilmu Pendidikan 4, no 4 (16 novembre 2023) : 845–50. http://dx.doi.org/10.55681/nusra.v4i4.1676.
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Museums are buildings used as storage, maintenance, security and utilization of historical relics, art and science for permanent exhibition to the public (tourists) as a tourist attraction that provides educational values to tourists or visitors. To meet the needs of visitors in the museum, competent tour guides are needed as parties who provide information or provide education about the collections owned by the museum being visited. Therefore, the purpose of this journal is to review how tourists learn in museums through tour guides and what the role of tour guides as educators is, namely guiding tourists, providing information, introducing new things from the museum to visitors, informing visit regulations about things that can and cannot be done while in the museum and maintaining quality service. To fulfill the criteria of tour guides and maintain the quality and service to visitors, it is necessary to have continuous training for tour guides. This research uses a descriptive qualitative research method that aims to analyze and describe how visitors or tourists gain understanding or knowledge about the museum through the role of tour guides and what kind of tour guides educate visitors. Researchers use several methods library data collection methods, reading and recording, and processing research materials. In this study, researchers found that tour guides have an important role as educators to educate tourists from the beginning to the end of a visit to the museum.
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Bračun Sova, Rajka. « Art Appreciation as a Learned Competence : A Museum-based Qualitative Study of Adult Art Specialist and Art Non-Specialist Visitors ». Center for Educational Policy Studies Journal 5, no 4 (31 décembre 2015) : 141–57. http://dx.doi.org/10.26529/cepsj.121.
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Since Bourdieu, it has been argued that art appreciation requires “knowledge”. The focus of this qualitative study was to examine art appreciation as a learned competence by exploring two different groups of museum visitors: art specialists and art non-specialists. The research was conducted at Moderna galerija in Ljubljana. Twenty-three adults were recruited and accompanied during their visit to the museum. Participants were requested to “think out loud”, which meant to talk about what they saw, thought, and felt about the artworks. There was a short interview conducted with each participant before entering the museum to gain insight into their art-related and museum-visiting experience. The analysis of the data revealed that some processes of art appreciation were similar within the two groups. Both art specialists and art nonspecialists interact with museum objects physically and intellectually; they see contents and formal qualities as a whole; they respond emotionally to artworks; appreciation includes their personal experience; they search museum interpretation/information for their understanding. Some noticeable differences were found. Art specialists respond to artworks with more understanding and are willing to put more effort into art appreciation, whereas art non-specialists respond with less understanding and put less effort into art appreciation. This paper focuses on the differences between the two groups; reflective and spontaneous appreciation of art, objective and subjective appreciation of art and the effort put into art appreciation. The paper ends with a discussion of the implications of the study for the teaching of art and museum education.
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Yi, Qiong juan, et Wan Jamarul Imran Bin Wan Abdullah Thani. « THE SIGNIFICANCE OF THE ART MUSEUM SPACE AS EMOTIONAL HEALING ». International Journal of Applied and Creative Arts 6, no 1 (30 juin 2023) : 49–64. http://dx.doi.org/10.33736/ijaca.5644.2023.
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This article explores the emotional healing function of art museum space and its potential impact on people's daily lives. Drawing on the theories of emotional therapy and art therapy, it is believed that art museum spaces can provide visitors with a unique transformation experience, helping them regulate emotions such as anxiety, boredom, and fatigue. This article explores how the layout of artist works and exhibition halls creates a visual and emotional experience through specific case studies, literature research, and questionnaire surveys. This experience is fundamentally different from the repetitive and rigorous spatial sense in daily life. Through the creativity of artists, different artistic spaces are created, bringing a new experience to the audience, allowing visitors to feel the charm of artistic creativity and obtain beautiful emotional value. Through case studies, it is proposed that good creative spaces can provide emotional therapy for visitors. Ultimately, this article demonstrates the potential of art museum spaces in changing emotional states and improving overall happiness. This provides new discussions on the application and significance of the creative industry in community residents' lives in the future, and proposes research directions for the development of the creative industry in the future.
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Petridis, Panagiotis, Ian Dunwell, Fotis Liarokapis, George Constantinou, Sylvester Arnab, Sara de Freitas et Maurice Hendrix. « The Herbert Virtual Museum ». Journal of Electrical and Computer Engineering 2013 (2013) : 1–8. http://dx.doi.org/10.1155/2013/487970.
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In recent years, virtual reality and augmented reality have emerged as areas of extreme interest as unique methods for visualising and interacting with digital museum artefacts in a different context, for example, as a virtual museum or exhibition, particularly over the Internet. Modern cultural heritage exhibitions have evolved from static to dynamic exhibitions and challenging explorations. This paper presents two different applications developed for the Herbert Museum and Art Gallery that make the user’s experience more immersive, engaging, and interactive. The first application utilizes mobile phone devices in order to enrich the visitors experience in the museum, and the second application is a serious game for cultural heritage and in particular for museum environments focusing on the younger visitors.
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Franklin, Adrian, et Nikos Papastergiadis. « Engaging with the anti-museum ? Visitors to the Museum of Old and New Art ». Journal of Sociology 53, no 3 (6 juin 2017) : 670–86. http://dx.doi.org/10.1177/1440783317712866.
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Hailed as the most important cultural event since the opening of the Sydney Opera House, the Museum of Old and New Art (Mona) in Tasmania seemingly made very substantial changes to visitor experiences of an art gallery, catalysed a significant cultural florescence in Hobart and achieved tourism-led urban and regional regeneration on a par with the Guggenheim Museum Bilbao. Drawing on a large survey of visitors this article illuminates the origins, social aims and impacts of successful attempts to push art museums beyond what Hanquinet and Savage call ‘educative leisure’. It contributes to our knowledge of the processes by which traditional forms of ‘highbrow’ cultural experience associated with the dominance of the classical and historical canon are being eclipsed by newer, performative, emotional and sensual forms of cultural taste.
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Abbey, Heidi N. « Does a decade make a difference ? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011 ». Art Libraries Journal 37, no 3 (2012) : 34–40. http://dx.doi.org/10.1017/s0307472200017582.
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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programming, documentary history, and curatorial functions of museums in countless ways. In addition, especially for art historians and other scholars, museum libraries and archives have been and continue to be increasingly valuable for primary and secondary sources, including artists’ correspondence, diaries, sketches, hard-to-find monographs, exhibition records and sales catalogues. What is unclear, however, is the extent to which resources in art museum libraries and archives are being documented, preserved and made accessible online. This research is perhaps the first of its kind to evaluate, on a small scale and during a span of twelve years, the web presence of 22 North American art museum libraries and archives.
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MASHTALIR, Вадим Віталійович. « PROBLEMATIC ISSUES AND DEVELOPMENT PERSPECTIVES OF MODERN UKRAINIAN MILITARY MUSEUM ART ». Військово-науковий вісник, no 35 (11 mai 2021) : 18–30. http://dx.doi.org/10.33577/2313-5603.35.2021.18-30.
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The article analyzes the current state, problems in the functioning of military history museums and it characterizes further directions of development of Ukrainian military museology.It is established that the research of the current period of development of military museum affairs in Ukraine allows to note the growing role of military history museums in the revival of military history of the people, in the development of national society and in the establishment of its patriotic foundations.Іn the article is proved that the military history museum should become more interactive and more responsive to the real needs of the public. The museum should attract the attention of potential visitors, interest them and should be open to all. The formation of an attractive image of the military history museum through the using of art and information tools and assistance in meeting the interactive needs of people to combine knowledge with entertainment in their free time, force modern museum-exhibition complexes to use information-analytical, entertainment-game and other methods of recreation for their visitors.
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Woodruff, Anthony Wayne. « Finding Museum Visitors with Autism Spectrum Disorders : Will Art Help In The Search ? » Museum and Society 17, no 1 (10 mars 2019) : 83–97. http://dx.doi.org/10.29311/mas.v17i1.2586.
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Visiting a museum can be a tremendously stressful event for families that include children with Autism Spectrum Disorders (ASD). The goal of this research study was to find what concerns families have when visiting a museum, if there are any intervention materials caregivers prefer, to examine behaviors of children with ASD while in the museum, and to see if an art-making activity after the museum visit could be directly tied to the museum experience. Results indicated that museums continue to be stressful for families, and parents would like materials to help reduce anxiety in their children before and during the visit. While in the museum, parents tried to focus their children’s attention on interesting things, but many children became overly excited and desired spaces within the museum to be more active. Art-making after the museum visit allowed children to reflect back on what they saw and did during their experience.
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Redler, Hannah. « From interventions to interactions : Science Museum Arts Projects’ history and the challenges of interpreting art in the Science Museum ». Journal of Science Communication 08, no 02 (19 juin 2009) : C04. http://dx.doi.org/10.22323/2.08020304.
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Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on peoples’ everyday lives.
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Shimanskaya, K. I. « Art mediator as a participant of art communication ». Northern Archives and Expeditions 4, no 4 (25 décembre 2020) : 109–15. http://dx.doi.org/10.31806/2542-1158-2020-4-4-109-115.
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Artistic communication is the interaction between the viewer and the work of art. Its success is the highest goal of an art mediator, whose role is to establish and maintain a dialogue between the subjects of artistic communication. n this regard, art mediation is understood by the authors of the article as a participatory practice that teaches visitors of art museums and galleries the language of art and its interpretation. This view is confirmed by a review of the concept of artistic communication in scientific literature, as well as an analysis of the practice of art mediation, its basic principles (such as openness, polyphony and the use of an individual approach by an art mediator) are revealed on the example of the Krasnoyarsk Museum Biennale «Negotiators» in the Krasnoyarsk Museum Center.
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Othman, Mohd Kamal, Ng Ee Young et Shaziti Aman. « Viewing Islamic Art Museum Exhibits on the SmartPhone : Re-examining Visitors’ Experiences ». Journal of Cognitive Sciences and Human Development 1, no 1 (1 septembre 2015) : 102–18. http://dx.doi.org/10.33736/jcshd.192.2015.
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Mobile Guide technologies in public spaces, particularly museum are not new and have changed the way visitors’ access information during their visit. Smartphone applications (apps) are increasingly popular because it can be accessed before, during and after the museum visits. This has impacted the way exhibitions are designed and the resulting visitor experience. Therefore, it is important to measure what effect the use of smartphone technology has on visitor experience. An “in the wild” study was conducted to investigate visitor experience in Islamic Art museum, both with and without Islamic Arts Museum Malaysia (IAMM) Mobile Guide (smartphone apps). A total of 55 participants took part in the study. The Museum Experience Scale (MES) was used to measure visitor experience, whilst the Multimedia Guide Scale (MMGS) was used to measure visitors’ experiences with the IAMM Mobile Guide. Results showed that scores on all components of MES suggested a positive experience at the IAMM with the component of meaningful experience being the highest score, followed by the component of knowledge and learning. Scores on the MMGS also showed a positive experience in using the mobile guide with learnability and control scored the highest, followed by general usability.Keywords: user experience (UX); visitor experience; museum; smartphone; applications; mobile guide
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Gaber, Tammy. « Islamic Art and the Museum ». American Journal of Islam and Society 31, no 2 (1 avril 2014) : 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.
Texte intégralRésumé :
This volume contains an impressive number of essays by authors from diversebackgrounds. What the title does not indicate is the reason for this publication– the conference “Layers of Islamic Art and the Museum Context” (held inBerlin during January 13-16, 2010) in cooperation with the Aga Khan Trustfor Culture, the Museum of Islamic Art in Berlin, and the “Europe in the MiddleEast – The Middle East in Europe” (EUME). The EUME is a Berlin-basedresearch program initiated by the Brandenburg Academy of Science, the FritzThyssen Foundation, Wissenschaftskolleg zu Berlin, and the Forum TransregionaleStudien. This publication drew upon the expertise of the Aga KhanNetwork and experts in Germany because it was originally to be a workshopfocused on the reorganization of Berlin’s Museum of Islamic Art (MIA) aswell as a study for Toronto’s Museum of Islamic Art, which will open thisyear and house the Aga Khan’s personal collection.The forum offers a certain diversity of voices regarding issues in general(the display of Islamic art around the world) and specific to the MIA at thePergamon Museum. Its twenty-nine essays are divided into five sections: “In-132 The American Journal of Islamic Social Sciences 31:2troduction,” ...
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Huebner, Emma June. « Making Art at Home During the COVID-19 Pandemic : Instagram, Young Visitors, and Museum Collections ». Canadian Review of Art Education 49, no 1 (15 décembre 2022) : 21–33. http://dx.doi.org/10.26443/crae.v49i1.122.
Texte intégralRésumé :
This paper examines some of the ways that Canadian art museum education departments used Instagram during the COVID-19 pandemic, particularly for young virtual visitors. The author studied this use of Instagram through a visual content analysis of ten Canadian museums’ educational posts, stories and IGTV videos, using the theory of connectivism and the way learners can engage with learning opportunities outside of their physical environments. The findings from this study reveal that Instagram became instrumental in allowing museum educators to continue their mission of promoting meaningful engagement with collections for their visitors.