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1
Rocha, Cláudia Regina Alves da. « Da Pinacoteca ao Museu : historicizando processos museológicos ». Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-13022015-104640/.
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O Museu Nacional de Belas Artes e sua documentação museológica constituem o principal objeto de estudo desta pesquisa, que procura investigar em suas origens, junto à Academia Imperial de Belas Artes/Escola Nacional de Belas Artes, as ações de tratamento documental que essas instituições utilizaram. Partindo da premissa de que a criação do Museu Nacional de Belas Artes deuse no século XIX, a pesquisa tem por objetivo mapear as proximidades e distanciamentos, sob o enfoque documental, entre tais instituições.The National Museum of Fine Arts and its museological documentation are the aim of this research, which investigates its originis by the identification of the documentation processes developped at the Imperial Academy of Fine Arts, renamed National School of Fine Arts. Considering that the creation of the National Museum of Fine Arts emerged from the debates on the foundation of an Art Gallery inside the Imperial Academy of Fine Arts in the 19th century, this research explores the similarities and differences between these institutions from the point-of-view of the documentation of their collections.
2
Ponganutree, Mongkon. « A museum of graphic arts ». Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722138.
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This is the documentation of my creative project in which the design was a museum of graphic arts with other supporting facilities including a forum, a cafeteria, a library.The project is composed of two major parts. The first one is the research on the contemporary museum design which is the concrete results of the study on current knowledge and interpretation of the orientation and meaning of contemporary museum architecture, together with the research on the theory of point, line, plane- the primary elements of architectural form and space. The second part is a design project, " A Museum of Graphic Arts", which is set up as a framework for the study, theoretical exploration and, the most important of all, as an interpretation of understanding and a synthesis of the research in the first part.Department of Architecture
3
Small, Stephen W. « "A national imaging arts museum" ». Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53275.
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In designing a National Museum for the Imaging Arts, a dual obligation is created. It is to provide an intimate place for the cherishing of manifestations of the individual, while also creating, at the scale of the nation, a symbol of the civilization. Architecture accepts this obligation through the hierarchical scaling of the referents of order, material, space, and light.Master of Architecture
4
Bradford, Shalen. « Children's Art Museum ». VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2175.
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This Thesis explores the question; Is a children’s museum a playground or a museum? Through research and visits to children’s museums I feel that many are playgrounds. They are also visually stimulating to children, but not to the guardians who bring them there. In most cases the exhibits are permanent and there is little change to the atmosphere of the space on a regular basis. An old warehouse located on North Boulevard was chosen to house this project idea of a children’s art museum. The scenario is that The Virginia Museum of Fine Arts and the Children’s Museum of Richmond would have a joint venture in creating a the Children’s Art Museum of Richmond. Thebuildings’ close proximity to these two museums make it an excellent choice for both institutions. There are interactive changing exhibits, a studio that continues the learning experience from the exhibit, and a gallery to display artwork that was created in the studio spaces. Through these three core spaces I hope to create a continuous interactive learning experience in this children’s art museum.
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Parsons, Rachael Nerrada. « Virion : new media and the development of the discursive museum ». Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/44089/1/Rachael_Parsons_Thesis.pdf.
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The historical rhetoric established with the very first public art museums declared that the purpose of such institutions was to provide a space where art could be accessible to all citizens. However contrary to this aim, studies show that art museums are one of the least accessed cultural institutions in the western world. The prevailing consensus for this can be attributed to the perception that museums are elitist, irrelevant and restricted to a small and privileged group. The focus of this research project is to address the issues that lead to these perceptions, and to identify possible curatorial strategies to encourage greater access to, and participation in the visual arts. This will be done through designing and curating an open submission exhibition that utilises new media technologies to increase access and dialogue between artists and audiences. This is part of a hybrid practice-based methodology that also includes scholarly research to critically investigate a number of historical and contemporary theories concerned with public museums and approaches to curatorial practice. This research will culminate in the development of Virion, an Internet based exhibition that aims to develop a curatorial model that facilitates open and democratic participation in arts practice from a diverse public audience.
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Conway, Chelsea. « Participatory Activities and the Art Museum : A Case Study of the Columbus Museum of Art ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493982670620671.
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Rhee, Nakyung. « An Exploration of New Seniors in Arts Participation literature and practice ». The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386775161.
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Sin, Song-Chiew James, University of Western Sydney et of Performance Fine Arts and Design Faculty. « Arts, culture and museum development in Singapore ». THESIS_FPFAD_XXX_SinSongChiew_ J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/240.
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This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine artMaster of Arts (Hons)
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Sin, Song-Chiew James. « Arts, culture and museum development in Singapore ». Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/240.
Texte intégralRésumé :
This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine art
10
Sin, Song-Chiew James. « Arts, culture and museum development in Singapore / ». View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030901.095617/index.html.
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Clinton, Sarah. « Denver Art Museum : Creating Interactive and Educational Experiences in the Museum Setting ». ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/151.
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The following report documents my internship at the Denver Art Museum from June to August 2013 in Denver, Colorado. This report is a result of my work with the multiple divisions in the Education Department. I worked in depth with a variety of programs, which facilitated and encouraged new and exciting methods of education to a wide range of audiences. This report will be an in depth examination of the effectiveness of interactive educational programing by first discussing the goals and purposes of each one. There will then be an explanation of the intern’s responsibilities and observations within the department. This will include the internal strengths and weakness of the education department as well as the external opportunities and threats. The report will conclude with best practices observed, recommendations for improvement and final thoughts regarding the Denver Art Museum’s education department.
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Grossman, Martin. « Museum imaging : modelling modernity ». Thesis, University of Liverpool, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332517.
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Bingham, Glenn. « Mobile Museum of Art ». ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/153.
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The following internship report is an investigation of the organizational structure of the Mobile Museum of Art from January 2013 to August 2013. During the internship, I was able to work in several different capacities, from volunteer coordinating, to marketing, to programming. This report analyzes several aspects within these fields, including the organization’s brand, marketing strategies, and educational structure as they shift under new management. Based on my observations, I will offer recommendations for programming, marketing, and volunteer management, and compare the current structure to best practices of other museums and similar organizations. Through this extensive analysis I will also offer thoughts about the future of this local arts environment.
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Coleman, Tasha. « Including African Americans in the mainstream museum experience / ». Philadelphia, Pa. : Drexel University, 2000.
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Cortell, Sarah Christine. « The Cost of Free Admission : A Comparative Study Examining the Feasibility of Eliminating Museum Admission Charges ». The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307220379.
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Sarber, Jessica B. « An Exploration of Self-Identity Oriented Teen Programming within the Museum ». The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429204415.
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Bernard, Elisa. « Museums as Living Organisms. A Historical Perspective on Change and Continuity in Museum Institutions ». Thesis, IMT Alti Studi Lucca, 2023. http://e-theses.imtlucca.it/374/1/Bernard_phdThesis.pdf.
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This dissertation engages with a question that is underrated and underexplored in the literature on museum history: how do museums respond to and/or trigger societal, political, and cultural changes? To answer this question, the research
concentrates on art and archaeological museums in Italy between National Unification and the post-war period. Indeed, the history of Italian museums and theoretical debates over how to organize museums and public education in late nineteenth/early twentieth-century Italy provide paradigmatic cases.
The first chapter gives an overview of the dominant avenues of research in social, political, and cultural history and role of the museum, spotlighting key historical moments and
historiographical approaches. It then applies to museum
institutions the Greek philosopher Plato’s well-known
observation that no living organism or no piece of knowledge
stays the same throughout its lifetime since the fundamental
nature of human bodies and knowledge is continuous change. We can thus ask what causes a museum to be perceived as the same museum over time and analyze the conditions under which the balance between continuity and change breaks down. Combining contextual analysis and a case study approach appeared to be the most promising strategy to address these questions. For example, an analysis of the debate over the function and mission of archaeological museums in post-Unification Italy shows that museums can serve multiple purposes. These purposes, in turn, might shape museums’ collections, visions, and display and narrative strategies. The second and third chapters present the analysis of two case studies that contextualize this idea that
museums never remain the same. They also outline an analytical model drafted as part of this research according to which the study of the concrete changes museums undergo or trigger in their interaction with, and in relation to, societal, political, and cultural changes enable us to identify the active fields of force in any given situation in which museums are located and act as institutions.
The case studies identified and analyzed in thisdissertation are the National Museum of Palermo and Civic Museum of Padua. The analysis proposed here classifies various stimuli for change, both exogenous and endogenous, and shows how these forces can coalesce in specific moments of a museum’s life so that, viewed aposteriori, they turn into pivotal turning points. At the same time, the research presented here also takes into account museums’behavioral complexity in responding to and triggering change while maintaining continuity.
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Baker, Laura. « The New Orleans Museum of Art : Managing the Collection ». ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/173.
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An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.
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Gray, Pamela Clelland. « Public learning and the art museum : future directions ». Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/354.
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The question of the art museum's failure to engage wider audiences remains relatively unexamined and has neither widely catalysed nor changed professional practice either in curatorial, educational, or public program domains. In this study, the educational aim of the art museum is discussed. The work of Pierre Bourdieu is examined. Bourdieu argues that museum display principles, interpretive strategies, and educational techniques, propagated within the paradigm of modernism, implicitly assume possession of cultural literacy skills which are the sole privilege of the educated.The author concludes that working within and across the curatorial and educational environments of an art museum, while avoiding the pitfalls of the modernist tradition, is also a significant step toward engaging wider audiences than the cultual 'elite' in the development of visual literacy skills.
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Plagens, Emily S. Hafertepe Kenneth. « Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum / ». Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.
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Bem, Caroline. « Cinema and Museum : Encounters ». Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67027.
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The following thesis investigates the conditions of possibility for, as well as some of the consequences of, the growing presence of the cinema at the museum. Thus, the first chapter sees us looking back on a number of historical markers for this emerging phenomenon. The second chapter concentrates on shifts pertaining to the figure of the museum curator which it attributes, concomitantly, to the emergence of a cinematic model of exhibition organization and a recent "return of fiction" (Christian Zimmer). Finally, the third chapter proposes a rereading, through the prism of the cinema, of a selection of texts which approach the formation of a modern perceiving subject. Considered from three different angles, the entry of the cinema into the space of the museum is thought, then, to stand at the center of a renewal, not only of artistic practices, but of the very institution of the museum in the 21st century.Ce mémoire offre une réflexion sur les conditions qui ont rendu possible la présence du cinéma au musée ; il sera également question des conséquences entraînées par cette présence. Le premier chapitre revient sur plusieurs marqueurs historiques qui témoignent de ce phénomène récent. Le deuxième chapitre se concentre sur les transformations qui ont affecté la fonction de commissaire d'exposition. On peut expliquer ces changements par l'émergence d'un modèle d'organisation des expositions inspiré du cinéma. Une autre explication est à chercher dans le « retour de la fiction » (Christian Zimmer). Enfin le troisième chapitre propose de relire, par le prisme du cinéma, un choix de textes qui s'intéressent à la mise en place d'un sujet moderne percevant. Ainsi abordée sous trois angles, l'entrée du cinéma au musée apparaît alors comme l'enjeu central d'un processus de renouveau qui ne touche pas seulement les pratiques artistiques mais l'institution même du musée au 21e siècle.
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Barrois-Pinner, Christina. « The Louisiana State Museum : A Report ». ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/131.
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This report is written as the result of an extensive internship from May to September 2011 at the Louisiana State Museum. During my time at the Louisiana State Museum I worked as a full-time marketing intern in the main office at the Presbytere. The aim of this report is to provide a comprehensive overview of the Louisiana State Museum as an organization and I will be focusing on the museum’s marketing department. Drawing from my experiences, research and interviews with key individuals; my report includes an analysis of the organization, description of my internship duties and recommendations for the museum moving forward.
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Wagner, Matthew David. « richmond local arts museum ; urban identity : recognition through transformation ». Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/33689.
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the richmond local arts museum is a vehicle to investigate a thesis concentrated on correcting the identity of a place that is lost in history. an intentional interruption to the â historicâ context of richmond will transform the city. richmondâ s connection to the civil war will soon be diluted, as it will quickly gain recognition for its progressive actions, through the emergence of a new art and architecture.Master of Architecture
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Decker, Jillian. « The Restitution of World War II-Era Looted Art : Case Studies in Transitional Justice for American Museum Professionals ». Walsh University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors155561854704584.
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Addis-Gutierrez, Christy. « Museum Design : art, wonder & ; discovery ». VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2156.
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Christy Addis-Gutierrez MUSEUM DESIGN: art, wonder & discovery Some art institutions create such an elitist atmosphere that the average person might feel intimidated. But for the artists to be the most effective in expressing their ideas, their feelings, and their point of view, more people need to experience it. If the audience for art is limited to a relatively small group of art lovers, how does that serve the art process? A broader audience could enrich the art that is produced, allowing artists to engage in more daring work. A contemporary art museum that also incorporates spaces for gathering and communal activities, with an active and innovative educational program, could create this broader audience for art, and strengthen the surrounding community as well. Art brings people together – to discover more about themselves and each other. The challenge is to create a space that accomplishes this: more art; more people; more wonder; more discovery. The “big idea” of this project was “more art”. It was generated by the idea of bringing the wonder of art to more people.
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Kim, Sujin. « A Case Study of Pages at the Wexner Center for the Arts and Its Implications for Collaborative Art Museum-School Programs ». The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1530882425478519.
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Strahl, Lisa. « The postmodern museum : the effects of technology on visual arts organizations / ». Philadelphia, Pa. : Drexel University, 2000. http://dspace.library.drexel.edu/handle/1860/387.
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Sonter, Sharyn Louise. « The museum and the department store ». Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/553.
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This research aims to show the relationships between the museum and the department store and the visitor who engages with both institutions. The visitor to these spaces is the focus for the development of meaning, and reaction, to the objects on display in both spaces. The methods of interior and exterior design, planning and circulation, and object display, are discussed in relation to the vital context of the viewer, and the consequent construction of meaning and value. Value itself, becomes a recurring theme in these discussions since design and display within both institutions can perpetuate value, desire, and fetishism for the object. These concepts are further related to the appropriation of Minimalist aesthetics in boutiques. This analysis is applied to the critique of two exhibitions: 'Islands: Contemporay Installations' at the National Gallery of Australia, and, 'The Second Asia-Pacific Triennial of Contemporary Art' at the Queensland Art Gallery. These exhibitions which predominantly involve installation art are discussed as examples relating to the phenomena of viewing, and the impact of design and display
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Lenz, Elsa. « COMMUNITY CONNECTIONS : OPENING RELATIONAL AND DIALOGICAL SPACE IN ARTS ORGANIZATIONS THROUGH COMMUNITY OUTREACH ». Thesis, Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1139%5F1%5Fm.pdf&type=application/pdf.
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Hellgren, Rachel K. « Designing for Museum Relevancy : Improving Innovation and Adaptability in Museum Management with Design Thinking ». Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429521944.
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Sharma, Arjun. « Contemporary Arts Museum in Roanoke : an Entrance to the City ». Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/35953.
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Roanoke, as a city, needs to redefine itself and to constantly respond to what new should come to the city. Society and culture become an important factors in design. The insertion into an existing fabric requires a careful dialogue between past, present and future. The proposed building sets in contrast to the existing structures in the neighborhood of the site, establishing its own response to time. Although contrasting the existing buildings the proposition is responsive to context in terms of scale and materials. The context is important to continue the harmony and rhythm of the urban fabric.
The site is located at one of the main entrances to downtown Roanoke and market square and hence the proposed building acts as a gateway to the future of the city. Due to its location the building will project the first image of the city. Therefore the proposed building should enhance and adapt to the social and cultural roots of the city. My thesis is a reaction to the existing conditions at the site for what I believe to be a lack of sensitivty to the context and the needs of the people of Roanoke. A museum is a public institution to provide insight into the attitudes and values of the local community. Through design the building is intended to symbolize the gateway to the future of the city.
The basic shape of the building is curved in response to the plan of the site while allowing for an urban plaza in front. Cantilevered masses which radiate from Market square are inserted into the primary building mass providing a connection to a larger context. The cantilevered masses(which hosts art galleries)hover over and project into the urban plaza providing Roanoke city with a public space downtown. Thus the two most important elements i) Cantilevered masses and ii) The Urban Plaza are means to weave the thesis project into the existing urban fabric of the Roanoke.Master of Architecture
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Holmes, Elizabeth Geesey. « The Virginia Museum of Fine Arts : its Founding, 1930-1936 ». W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625838.
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Zwegat, Zoe E. « Diversity, Inclusion, and the Visitor-Centered Art Museum : A Case Study of the Columbus Museum of Art ». The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562442682063359.
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Kaufmann, Shayla. « Marginalized students accessing museum art education programs ». Thesis, Boston University, 2014. https://hdl.handle.net/2144/21185.
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Thesis (M.A.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.For many years as an art educator, this researcher, has observed, the positive impact an art education program can have on a variety of different student populations. All students deserve access to a meaningful art education. It has been shown that developing brain health and looking at art is beneficial for the human mind. Scientists in collaboration with artists have recently shown, through Computed Axial Tomography (CAT scans) something that we already knew (or suspected), from our own experiences; making and looking at art is positive for human cognition. According to Professor Semir Zeki, Chair of the Neurasthenics Department at University College London: (1999, p.187). Inner Vision: An exploration of art and the brain: "What we found is when you look at art – whether it is a landscape, a still life, an abstract or a portrait – there is strong activity in that part of the brain related to pleasure. We put people in a scanner and showed them a series of paintings every ten seconds. We then measured the change in blood flow in one part of the brain. The reaction was immediate. What we found was the increase in blood flow was in proportion to how much the painting was liked. The blood flow increased for a beautiful painting just as it increases when you look at somebody you love. It tells us art induces a feel-good sensation direct to the brain." This thesis will not be examining the positive impact art has on the brain; it is referred to in order to acknowledge the fact many artists and art appreciators already know: Looking at art is a valuable thing, and art education is important for developing minds. This thesis will examine the bridge between art museum programs and marginalized student populations. These are the students who have Individualized Education Programs (IEP’s), or those for whom English is a second language and who may live in low-income urban communities. It will also examine what museum-based art education programs can provide to this population of youth. In the Wall Street Journal, as cited by (Winner, Goldstein, and Vincent-Lancrin, 2013, p.18) the former chairman of the National Endowment for the Arts, Rocco Landesman offers pointed remarks when arts education comes up: "Some students don’t fit the No Child Left Behind regime and other subjects don’t inspire them. Talented but offbeat, they sulk through algebra, act up in the cafeteria, and drop out of school. The arts 'catch' them and pull them back, turning a sinking ego on the margins into a creative citizen with 'a place in society.'" Museums often provide a place for students to go and engage with art in a meaningful way that captures their imagination and engages them in learning. The emphasis of this research falls on the unusual student, the difficult learner, the student who has a learning style difference and who may never have encountered an original work of art. The purpose of this study is to report the ways in which students responded to art in a museum setting. Why art museums enjoy a reciprocal benefit from serving these students will also be examined. Art educators know that art is important for the development of creativity in students, and students’ benefit from engagement in studio art activities. Yet, most crucially, art programs are often marginalized in low-income urban communities. According to the Center on Budget and Policy Priorities, more than 95 percent of schoolaged children are attending schools that have cut art education since the recession. In low-income communities, many students have few studio art classes along their journeys through pre/K-12 public education. Those denied an art education often find themselves without the benefit of an education that includes studies about the value of culture, leaving those affected by poverty with little impetus to reach for higher educational goals. Art education programs at two museums are examined to show how their programs reach out to students from underserved communities. In particular, this study looks at the Cape Ann Museum in Gloucester and Peabody Essex Museum in Salem, both in, Massachusetts, to evaluate how to engage marginalized, urban students and retain these youth as enthusiastic lifetime museumgoers.
2031-01-01
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Saylor, Cynthia L. « Report on an Arts Administration internship with the Ogden Museum of Southern Art ». ScholarWorks@UNO, 1996. http://scholarworks.uno.edu/aa_rpts/48.
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This internship report describes my experiences and impressions while working with The Ogden Museum of Southern Art (OMSA). The OMSA will be a museum devoted to the visual arts heritage of the American South. The museum is scheduled to open in 1998. At the time of my internship the OMSA was in the middle of a capital campaign to raise the necessary funds to house and endow the collection. My internship consisted of planning and implementing an educational program. The event introduced the new director to the various groups that are cooperating to make the OMSA a reality.
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Dawkins, Jane Marie. « Ogden Museum of Southern Art : An Internship Report ». ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/149.
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The following internship report is a documentation of my work with the Ogden Museum of Southern Art from January through April 2013. I worked closely with the Museum departments of Education and Development, as well as the Deputy Director. This report is an analysis of the different business and management methods of the organization and their fidelity to best museum practices. I will analyze the strengths, weaknesses, opportunities and threats of the museum. I will also touch on the recent history of the Museum; what I observed currently; and the direction I see the museum heading in its future.
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Langley, Sarah Hitchcock. « The National WWII Museum-Entertainment Department (Internship Report) ». ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/172.
Texte intégralRésumé :
The purposes of this paper are to report on my internship at the National World War II Museum and to analyze the structure and practices in the Entertainment Department through a 480 hour internship. The Museum, located in New Orleans, LA, is a rapidly expanding tourist spot that captures and displays the history of World War II and the surrounding era. Beginning in October of 2013, under the direction of Director of Entertainment Victoria Reed, the position of Entertainment Assistant was filled to fulfill these hours and delve into the world of entertainment through a non-profit corporation. The hours of the internship were completed in January of 2014, but employment continued until August of 2014. This report concentrates on the first 480 hours. The strengths, weaknesses, opportunities, and threats of the organization and department will be considered and compared to best industry practices.
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Turner, Courtney L. « I Built a Museum and Called it Home ». University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1479293343851241.
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Quinn, Lisa A. « Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums ». Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.
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Shin, Sunyoung. « Product Differentiation : An Analysis of VIVA ! & ; Gala Around Town Series of the Cleveland Museum of Art ». University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1239466530.
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Beale, Sara A. « The Ogden Museum of Southern Art : An Internship Report ». ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/188.
Texte intégralRésumé :
This internship report documents and outlines my time with the Ogden Museum of Art in New Orleans, Louisiana, from January to May of 2015. It closely outlines the history and structure of the organization, as well as its strengths, weakness, opportunities and threats. This report also includes a detailed description of all tasks and responsibilities assigned to me as an intern, an analysis of its current state, research of best practices in the field, and an educated analysis of its probable trajectory.
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Hsieh, Hui-Jong. « Government policies and fine arts museums in Taiwan : the impact of government policies on museum personnel and finance ». Thesis, University of Leicester, 2005. http://hdl.handle.net/2381/31152.
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Following rapid economic development since 1970s, political transformation and social reformation in the 1980s, Taiwan has become increasingly concerned with its arts and culture. The main purpose of this research is to find out in what ways Taiwanese government can help the public fine arts museum in their personnel and financial managements to substantiate their subsistence and development in order to ensure the preservation and development of arts and culture. Therefore the main subjects of this thesis are arts and culture, fine arts museum and government along with the emphasis on tackling museum personnel and finance problems. This research has offered an overview of the cultural development in Taiwan, the personnel and finance problems of museums in practice. It has also justifies the importance of arts and culture, the values and functions of fine arts museums, the necessity of government intervention. Most of all, with the inspection on the policies and programmes developed and applied in different countries, this research attempts to provide possible and better solutions for Taiwanese Governments and fine arts museum. In order to answer my research questions: Why should the government support fine arts museums? In what ways have the government policies impacted upon the roles and functions of fine arts museums in Taiwan? What are the main problems experienced by the fine art museums in Taiwan and in what form of relationship that government might help to ameliorate them? I have applied two qualitative methods: document and in-depth interview collecting and analysis. This research has reviewed the relevant theories from a broad range of disciplines including politics, economics, sociology, cultural studies and museum studies to explore the key themes founded in the documents and in-depth interviews, such as government intervention vs. museum autonomy and centralisation vs. decentralisation.
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Gu, Mini. « Engaging Museum Visitors through Social Media : Multiple Case Studies of Social Media Implementation in Museums ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1325275682.
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Potoczny, Marie. « From the Museum of Lost Smells ». VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/45.
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Two teenage girls get summer jobs as tour guides at a Christian corporation's Poverty-Around-the-World display. A man seduces women with the nostalgia of smell. A young couple finds passion while waiting at a traffic light. These and other stories in the collection explore themes of loneliness, isolation, and coming-of-age in the contemporary American landscape.
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Crawford, Jessie A. « Art for One or Art for All ? Exploring the Role and Impact of Private Collection Museums in the United States ». The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460929598.
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Edwards, Jennifer Stierman. « From So-So to SoFABulous : Southern Food and Beverage Museum ». ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/150.
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The Southern Food and Beverage Museum in New Orleans, Louisiana is a nonprofit 501 (c) (3) organization opened in 2008 as a “nonprofit living history organization dedicated to the discovery, understanding and celebration of the food, drink and the related culture of the South.” Today, in 2013, it is pushing for a more global scope as The SoFAB Institute, now “dedicated to the discovery, understanding and celebration of the food, drink and culture of the world through the eyes of the South!” The changes in its mission statement reflect its proposed transition. It hopes to evolve from a local tourist attraction to an important cultural resource, providing both visitors and scholars from across the world a place to discovery and study the South’s culinary heritage. This paper seeks to examine the challenges a small, underfunded, understaffed and often misunderstood single-subject museum faces as it makes that transition—from so-so to SoFABulous.
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Rennie, Grace. « An Internship Report on the Ogden Museum of Southern Art ». ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/185.
Texte intégralRésumé :
The following internship report is a reflection of my time spent working at the Ogden Museum of Southern Art from February 2 to June 2, 2015. Since gaining a new Executive Director in 2012, the Museum has gone through a period of rapid change, which resulted in a complete overhaul of staff structure during my tenure. This report will outline the structure of the Museum, discuss the factors that led to it changing, and evaluate its sustainability for the Museum moving forward. It will also discuss the marketing and communications mechanisms in place, with a specific focus on social media, and provide recommendations for improvements in these areas.
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Doucette, Valerie Anne. « The art museum in code : display strategies of the National Gallery of Canada ». Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97220.
Texte intégralRésumé :
This thesis explores the ways in which the art museum as a powerful cultural medium shapes the public understanding of artworks and how this work is affected by digital media when the museum displays art online. In an analysis of the National Gallery of Canada (NGC) I focus on how the artwork is encountered and understood in physical and digital contexts through the examination of three modes of museum practice: memory, information, and narrative. I compare each mode's manifestation in the physical museum space to its digital translation, revealing that the NGC largely reproduces its objective, highly authored, and one-way communicative practices in digital space. Other online interfaces such as the steve.museum project and the Art Matters blog of the Art Gallery of Ontario are examined as possible alternatives to the NGC's approach through their use of more open, collaborative, and social practices made possible by digital media.La présente thèse examine l'influence du musée d'art en tant que milieu culturel important sur la compréhension des objets d'art par le public et les répercussions des médias numériques sur ces œuvres quand le musée les affiche en ligne. Pendant l'analyse du Musée des beaux-arts du Canada (MBAC), je cherche à déterminer comment les objets d'art sont rencontrés et perçus dans leurs contextes physique et numérique en examinant trois contextes pertinents au musée : la mémoire, les renseignements et la narration. Je compare la manifestation des trois contextes dans l'espace physique du musée à leur traduction numérique, ce qui révèle que le MBAC reproduit de très près ses pratiques à communication unilatérale objectives et consignées dans l'espace numérique. J'examine également d'autres interfaces en ligne, notamment le projet steve.museum et le blog Art Matters du Musée des beaux-arts de l'Ontario, comme autres options à l'approche du MBAC pour leur usage plus ouvert, plus collaboratif et plus social rendu possible par les médias numériques.
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Grieshammer, Natalie. « Engaging Millennial Philanthropy in Art Museums Through an Online Platform ». University of Akron / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=akron1564742946031821.
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Blanco, Maria Cristina. « Museu casa da xilogravura de Campos do Jordão : colaboração para formação inicial de professores de artes ». Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-27092017-115108/.
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O presente trabalho tem como foco principal estudar o Museu Casa da Xilogravura da cidade do Campos do Jordão. Uma questão foi desenvolvida a partir da colaboração da Arte/educação nas ações educativas do Museu: Quais as possibilidades educativas do Museu Casa da Xilogravura para a formação inicial de professores de Arte Visuais? Resgataram-se informações sobre o Festival de Inverno de Campos do Jordão, como medida para reestabelecer relações com as ações contemporâneas sugeridas nesta pesquisa: a ligação da formação de professores em Artes Visuais com a cidade de Campos do Jordão, como também com suas cercanias. Outros assuntos pertinentes ao trabalho foram desenvolvidos como, por exemplo, os estudos sobre a abordagem do ensino superior, elaborados pelos professores Paulo Freire e Thierry De Duve, que embasaram a discussão sobre a formação inicial de professores de artes. Breve estudo sobre a legislação no ensino da arte foi escrito para reflexões sobre as políticas públicas no Ensino Superior. Um recorte de estudo sobre a importância do trabalho educativo dos museus como formação de um conceito, bem como um recorte histórico do Educativo dos primeiros museus paulistas, também consta deste trabalho. Foram desenvolvidos estudos sobre Curadoria Educativa e museu, e acervos digitais, devido às suas relações com a proposta da tese. Foi feito um levantamento de trabalhos com bases no Projeto Observatório da Formação de Professores que versavam a respeito da Educação em Museus no âmbito da graduação, que por sinal notou-se uma quantia bem pequena na pesquisa. Um pequeno histórico a respeito da formação do acervo do Museu Casa da Xilogravura foi realizado, por meio de informação bibliográfica, documental e depoimentos orais. Foram atualizados os dados quantitativos referentes às visitações presenciais dos estudantes de Ensino Básico ao Museu, assim como a maneira pela qual o visitante espontâneo acessa as informações sobre a Instituição. Um aprofundamento a respeito da Leitura da Obra de Arte, no âmbito da Abordagem Triangular do Ensino da Arte de Ana Mae Barbosa, e o Desenvolvimento Estético foi pensado sob à luz dos conceitos de quatro pesquisadores: Edmund B. Feldman, Robert W. Ott, Michael J. Parsons e Abigail Housen. Construiu-se um modelo autônomo, porém com bases nessas teorias, que levou a uma proposta de Material de Apoio ao professor em Artes Visuais, a ser oferecida às Instituições de Ensino Superior das regiões do Vale do Paraíba, sul de Minas Gerais e Rio de Janeiro. Este material apresenta a obra de Lasar Segall, chamada \"Casal no Mangue\", de 1929, xilogravura impressa em papel, que faz parte do acervo do Museu Casa da Xilogravura.The current dissertation focuses mainly on studying the Woodcutting House Museum in the town of Campos do Jordão. A question was raised regarding the Arts/Education cooperation related to the teaching activities of this museum: \"What are the educational possibilities of the Casa da Xilogravura Museum for the initial training of Visual Art teachers?\". Information was gathered on the Festival de Inverno de Campos do Jordão (Winter Festival of Campos do Jordão) as parameters to reestablishing the relationships with current actions in which we suggest in this research a link between the visual arts teacher training and the town of Campos do Jordão, as well as its surroundings. Other pertinent issues were also considered, such as the approach to advanced studies elaborated by the professors Paulo Freire and Thierry De Duve as the basis for the discussion about the initial training of arts teachers. Brief study on legislation in the teaching of art was written for reflections on public policies in Higher Education. This paper comprises a cross section of the importance of the teaching work of the museums as basis of a concept, as well as a historic cross section on the teaching aspect of the first museums of the State of São Paulo. Studies on Educational Curatorship and Museum and digital collections were developed based on the relations we suggest on this thesis. A survey was carried out on the basis of the Observatory Project for Teacher Training, which dealt with the Education in Museums within the scope of graduation, which, by the way, was a very small amount in the research. A brief record on the development of the collection belonging to the Casa da Xilogravura Museum was made using bibliographic, documental and oral statement information; and we updated the quantitative data regarding personal visits of Fundamental School students to the Museum, as well as how the spontaneous visitor accesses the existing information on it. The study thoroughly contemplates the reading of the works-of-arts within the scope of the Triangular Approach of Arts Teaching by Ana Mae Barbosa; also, the Aesthetic Development was regarded in the light of the concepts of four researchers: Edmund B. Feldman, Robert W. Ott, Michael J. Parsons and Abigail Housen. We built an autonomous model based on these theories, which led us to propose Support Materials to the Visual Arts teacher which should be offered to the Colleges of the regions of Vale do Paraíba, South of Minas Gerais and South of Rio de Janeiro. This material presents the work of Lasar Segall, called \"Couple in the Mangue\", 1929, woodcut printed on paper, which is part of the collection of the Casa da Xilogravura Museum.