Gotowe bibliografie tematyczne / Art museum attendance – europe

Gotowa bibliografia na temat „Art museum attendance – europe”

Autor: Grafiati
Data publikacji: 27 lipca 2024
Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Art museum attendance – europe"

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Skinner, Sarah J., Robert B. Ekelund, Jr. i John D. Jackson. "Art Museum Attendance, Public Funding, and the Business Cycle". American Journal of Economics and Sociology 68, nr 2 (kwiecień 2009): 491–516. http://dx.doi.org/10.1111/j.1536-7150.2009.00631.x.

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Gaber, Tammy. "Islamic Art and the Museum". American Journal of Islam and Society 31, nr 2 (1.04.2014): 132–36. http://dx.doi.org/10.35632/ajis.v31i2.1048.

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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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Soloshenko, V. "Looting of Cultural Property in Europe for the Fuhrer – Museum in Linz". Problems of World History, nr 13 (18.03.2021): 190–202. http://dx.doi.org/10.46869/2707-6776-2021-13-9.

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The article analyzes the activities of the Nazi “Special Mission Linz”, its organization and preparations for the opening of the Fuhrer-Museum in Linz. By A. Hitler’s design, Berlin was supposed to become a kind of Rome, and Linz – to become the European capital of world art. Although this museum was never established, its creation project and precious collections, most of which were seized from Jewish families, deserve a great deal of attention, and the connected with it secrets continue to be a concern of mankind. The crucial role in the selection and formation of the creating museum's expositions was played by its leaders. They took charge of future museum and selected for it the most precious items of the looted collections of Europe, coordinating the process of museum’s filling with Hitler. The author finds out that the Fuhrer-Museum in Linz expositions consisted mainly of art collections of Jews. The main criterion for the selection of valuable pieces of art for the museum was its belonging to the European high art. The article analyzes the components of the “mission’s” activities, outlines the routes of the artworks, which got into the museum collections in different ways. Besides, significant attention is paid in the article to the key figures: architects whose projects were approved by the Fuhrer, leaders of the museum in Linz – art historians and other executors who were directly involved in organizing and conducting of a large-scale looting of cultural property in Europe. The author notes that the purpose of the “Special Mission Linz”, was, inter alia, to find artworks created by masters of “Aryan” birth. The study emphasizes that such kind of museum establishment was an attempt to prove the greatness and steadfastness of the German Reich. It is noted in the article that Hitler was planning to build cultural centers in Königsberg and Drontheim (Norway) during the war. The Fuhrer wanted to establish a museum with cultural property from Eastern Europe in Königsberg, and the artworks of German authors were supposed to decorate the exposition of the newly created museum in Drontheim – the northernmost center of the future Great Empire. The fact that the Fuhrer-Museum in Linz was never built does not give any grounds to reject the facts of systematic looting and confiscation of cultural property that were conducting during many years of Nazi rule.
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Kepin, Dmytro. "The Cabinet of curiosities as a phenomenon of European culture: a source study". Вісник Книжкової палати, nr 8 (25.08.2022): 40–47. http://dx.doi.org/10.36273/2076-9555.2022.8(313).40-47.

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The article considers the history of the emergence of Cabinets of curiosities in Western and Central Europe. The works of museologists, historians, art critics, architects on the topic are analyzed. The expositions of the National Museum of Arts named Bogdan and Varvara Khanenko (Kyiv), the National Museum of Medicine in Kyiv, the Pharmacy Museum of Podil'sk district of Kyiv, the Lviv National Art Gallery named Boris Voznitsky, the Pharmacy-Museum "Under the Black Eagle" of Lviv, the funds and expositions of the State Historical and Cultural Reserve of the city of Ostroh of the Rivno region were involved. It turned out that the first "Collections of curiosities" meetings appear in the Middle Ages. Varieties of Cabinets of curiosities in Europe are known in the XVI—XVIII centuries. Museum treatises of that time were analyzed. The definition of the concept of "Cabinet of curiosities" during the Renaissance and Enlightenment is considered.
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Buigut, Steven, i Odekhiren Amaize. "Determinants of theatre, dance, and art museum attendance in the United Arab Emirates". Journal of Heritage Tourism 15, nr 6 (5.02.2020): 612–25. http://dx.doi.org/10.1080/1743873x.2020.1719117.

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Kepin, Dmytro. "The bassoon as a monument of musical culture: source studies". Вісник Книжкової палати, nr 7 (28.07.2022): 42–48. http://dx.doi.org/10.36273/2076-9555.2022.7(312).42-48.

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The article for the first time in Ukrainian historiography, museology and monumentology considers works of European fine art, where there is an image of a wind wooden musical instrument bassoon. Works of painting, graphics, works of monumental art (sculpture) are analyzed. This is a characteristic of the collections of bassoons in museums in Western Europe, the USA and Canada. Publications stored in the funds of the Vernadsky National Library of Ukraine, Yaroslav Mudryi National Library Of Ukraine, the National Historical Library of Ukraine, the National Scientific and Research Restoration Center of Ukraine were used. The expositions of the Bohdan and Varvara Khanenko National Museum of Arts (Kyiv), the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv), the State Yagotynsky Historical Museum (Yagotyn, Kyiv Region), as well as Internet resources of collections of wind instruments of a number of museums in Europe, the USA and Canada are analyzed. Materials from the personal archive and musical collection of the bassoonist, teacher in the class of wind musical instruments, soloist of orchestra V. Kepin (Kyiv) were involved. Based on the analysis, it was concluded that the Flemish artist Dеnis van Alsloot can be considered one of the first in European painting, which brought to our time the composition of wind musical instruments characteristic of the musical culture of Western Europe of the XVII century. In Ukraine, one of the oldest copies of the bassoon (1730s) is stored in the Museum of Theatrical, Musical and Film Art of Ukraine (Kyiv).
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Bao, Hongwei. "Curating queerness and queering curation: Exhibiting queer Chinese art in Europe". Journal of Contemporary Chinese Art 9, nr 3 (1.11.2022): 313–32. http://dx.doi.org/10.1386/jcca_00069_1.

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This article examines the curatorial strategies of the Secret Love exhibition, the biggest queer Chinese art exhibition outside Asia to date. The exhibition brought together 150 works created by 27 queer Chinese artists. It first took place at the Museum of Far Eastern Antiquities (MFEA) in Stockholm, Sweden, from 21 September 2012 to 31 March 2013, and subsequently toured to other museums in Europe. The exhibition raises the critical question of how one can curate queer Chinese art when definitions of queerness, Chineseness and art remain unstable and contested. This article proposes queer curating – that is, collecting and exhibiting genders, sexualities and desires in an art gallery or museum setting without reinscribing social norms and reinstating identity categories – as a critical curatorial method. Queer curating challenges fixed identity categories and dominant power relations; it also explores a non-essentialist and anti-identitarian mode of curatorial practice. As an example of transnational and transcultural curating, the Secret Love exhibition compels us to consider how curators can work with the structural constraints of exhibition and discursive spaces to create new curatorial possibilities.
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Leszkowicz, Paweł. "The Dissident Power of Queer Art and Curating in Central Eastern Europe". Ikonotheka, nr 32 (18.01.2024): 35–58. http://dx.doi.org/10.31338/2657-6015ik.32.3.

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The text aims to explore the political, cultural and artistic implications of LGBTQ+ art and curatorial practices in Central Eastern Europe in the 21st century. Currently, queer exhibitions, are on the rise in post-communist Europe, especially those held in contemporary art centres and museums. They cast light on new queer art and activism and the volatile sexual politics in the region because of the significant increase in the number of artists working with LGBTQ themes and the topical political background of this movement and its impact on cultural debates. Curators are developing innovative perspectives on sexual, social and artistic dimensions of queer exhibitions in this geographic context still seriously affected by homophobic state policy. The objective is to feature three art shows of major queer artists which have been organised in Hungary, Poland and Estonia in the last decade. The exhibitions are: The Survivor’s Shade: The Life and Work of El Kazovsky at the Museum of Fine Art- Hungarian National Gallery, Budapest in 2015/16; Daniel Rycharski: Fears at the Museum of Modern Art, Warsaw in 2019 and Jaanus Samma. Not Suitable for Work. A Chairman’s Tale, Museum of Occupations and Freedom, Tallinn in 2016. The three artists and their exhibitions have been selected because they were organised by major cultural institutions in the capitals, they have achieved a significant social impact and huge audience and the artists have played an important role in the contemporary art scene in each country. Their work is a current manifestation of the queer artistic and intellectual culture that has been developing slowly in the region since the 1980s and has come to play an increasingly important role in recent years. The exhibitions and art of the three artists are a starting point for a broader outline of the themes and important figures in recent queer art in Central Eastern Europe (CEE). Moreover, in each case, they appear in a complex and difficult political context related to the struggle for LGBTQ+ rights. Hence, I would like to propose a thesis about the dissident power and status of queer art and curating in CEE.
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Jasińska, Anna, i Artur Jasiński. "NEW BUILDING OF THE WHITNEY MUSEUM OF AMERICAN ART IN NEW YORK". Muzealnictwo 59 (30.03.2018): 19–27. http://dx.doi.org/10.5604/01.3001.0011.7190.

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On the 1st of. May 2015, in Meatpacking District of West Manhattan, the new building of the Whitney Museum of American Art was opened. It is the fourth location of this well-known New York museum, which was established in 1930, by Gertrude Vanderbilt Whitney. The Whitney possesses the world’s largest collection of American art and focuses on exhibiting living artists. Spectacular, industrial in character architecture signed by Renzo Piano has met with mixed reactions. The building is functional and well connected with the post-industrial site, however, not appreciated by everyone. Similar situation happened forty years ago, when Centre of Georges Pompidou, designed by Renzo Piano and Richard Rogers, pioneers of high-tech architecture, was widely criticised. Only popularity, high attendance and commercial success of famous Paris facility changed that negative opinion. Is the New Whitney following the same path – time will tell.
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Spiridon, Ioana-Cristina. "M. H. Maxy: de la avangardă la socialism". Revista Muzeelor 1 (2023): 216–23. http://dx.doi.org/10.61789/rm.2023.13.

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„M. H. Maxy: from avant-garde to socialism”, opened on the 28th of December 2023 at the Romanian National Museum of Art, uses a chronological line of events to bring up to date the image of Max Herman Maxy (1895 – 1971), seen as a leading artist with a significant role in the Romanian Avant-garde, but also as the first director of the Romanian National Museum of Art. Subsequently, his contribution to the development of the national art scene can’t be denied in art history. Furthermore, the opening was carefully chosen to mark a symbolic anniversary of 145 years since the first Romanian Jew obtained his citizenship, therefore enhancing the role that the Jew community had in the bloom and spread of the Avant-garde in Europe. The exhibition has a tacit dialogue to the main artistic events which celebrate Timișoara as The Cultural Capital of Europe 2023, the retrospectives dedicated to Victor Brauner and Constantin Brâncuși, suggesting the main artistic pillars in the dawn of Modern Romania.
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Rozprawy doktorskie na temat "Art museum attendance – europe"

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Axelsen, Megan Lena. "Do the motivations of people attending short-term art exhibitions differ from those of general gallery visitors? : a case study of the Queensland Art Gallery's Asia Pacific Triennial /". [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17781.pdf.

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

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Duthie, Lesley. "What it means to be a docent : narratives of art gallery experiences". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29670.

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It is widely acknowledged that without volunteer guides, or docents, most museums and galleries would find it impossible to offer education programmes as they are known today. Docents work in the critical interface between visitors and works of art, yet often they are viewed as being passive, and often ineffective, transmitters of the gallery's educational message. The literature on gallery education emphasizes docent "management", or the methods used to recruit, train, and supervise docents. But gallery staff must consider the docent’s beliefs, values, and viewpoints about art, and about education, for improvement of education programmes to occur. This study describes, and analyzes, the docent’s perspective of gallery education programmes, and the extent to which docents are actively engaged in the ongoing process of learning to help others learn. In order to obtain their perspective, six docents in two art galleries were engaged in long, semi-structured, and repeated interviews. These interviews were audiotaped and transcribed. Categories derived from the teacher's practical knowledge, such as subject, curriculum, instruction, self, and milieu, were used as a framework to describe and analyze the docent's practical knowledge. It was found that though the docents did indeed hold a coherent body of knowledge that originates in their practice, their theoretical knowledge of art was often an inadequate base on which to build an interpretation of the gallery's exhibitions. Differences were found in the educational goals of the gallery, and between the institution, and the docent’s educational values and purposes. Educators need to be aware or the shifting, complex, and sometimes paradoxical nature of the docent’s role. The docent’s perspective must be considered in the successful planning and implementation of education programmes.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Kohl, Manuela. "Kunstmuseen und ihre Besucher : eine lebensstilvergleichende Studie /". Wiesbaden : Dt. Univ.-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2865968&prov=M&dokv̲ar=1&doke̲xt=htm.

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Gevart, Louis. "La sculpture et la terre : histoire artistique et sociale du jardin de sculpture en Europe (1901-1968)". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100016.

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Établir que la sculpture et le jardin suivent une longue histoire commune relève du lieucommun. Au XXe siècle pourtant, le jardin de sculpture est devenu un espace porteur dansl’évolution des arts plastiques. Lieu intermédiaire entre la ville et le paysage, le jardin est un champ d’expérimentation formelle pour les artistes en même temps qu’une propositionmuséale ouverte. La première partie de l’étude porte sur le temps des prototypes (1901-1945),marqué par la diversité des pratiques : le plein air attire autant les sculpteurs questionnant leur rapport à la tradition et à la nature que les collectionneurs qui par leurs choix d’exposition posèrent les jalons d’une histoire de la sculpture en marche. Dans tous les cas, l’ancrage à la terre est fort. La deuxième partie traite de l’affirmation institutionnelle du jardin de sculpture dans la reconstruction (1945-1958). Réel ou imaginaire, le musée de sculpture en plein air est un champ où s’expriment les forces de la sculpture contemporaine et où s’affirment au public les questions sculpturales de l’avant-garde et où s’opère une mutation de la dialectique nature/(s)cul(p)ture. La troisième partie concerne les déplacements du jardin de sculpture (1958-1968) : de la nature à la ville dans une volonté des artistes d’investir pleinement l’espace public et d’acteurs culturels trouvant dans l’architecture un autre « en-dehors », mais aussi de la ville à la nature avec un retour à la terre de collectionneurs et directeurs de musées visionnaires concevant des espaces paysagers spécifiques, posant les prémices d’un art in situ dans le cadre institutionnel
It is generally accepted that sculpture and garden have shared a common history. Throughoutthe 20th century, however, the sculpture garden has become a strengthened space for theevolution of plastic arts. As an intermediate place between city and landscape, the garden isan experimental field both to the artists (in a formal sense) and to the museum (as an openspace). The first part of the dissertation deals with the time of prototypes (1901-1945) whenthe sculpture garden was characterized by its variety. Outdoors, sculptors have questionedtheir relation ton tradition and nature while collectors have put the first steps of a livinghistory of sculpture by their exhibition choices. By all means, their anchoring to the earthremained strong. The second part relates to the growing of the sculpture garden as culturalmodel during the Reconstruction (1945-1958). Whether real or ideal, the open-air sculpturemuseum then turns into a public theatre in which the forces of the contemporary sculpturefind their expression, particularly through the mutation of the nature/(s)cul(p)ture dialectic. At last, the third part deals with the sculpture garden shifts during the 60s (1958-1968). On the first hand, these shifts went from the landscape to the city: the artists would integrate moredirectly the urban space and the curators saw the architecture as another “outside”. On the second hand, they went from the city to the landscape: collectors and museum directors came back to the earth, conceiving specific landscapes for sculpture, laying the foundation of theexpression of an in situ art in the institutional framework
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Hanquinet, Laurie. "L'art de la représentation et la représentation de l'art: du sens et du bon usage des musées d'art moderne et contemporain en Belgique". Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210147.

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Cette thèse analyse le profil culturel des visiteurs des musées d’art moderne et contemporain en Belgique dans le but de mieux comprendre ce que représente, pour eux, l’expérience muséale. Il s’agit de dépasser une certaine approche courante en sociologie qui limite l’étude des relations publics-musées à la mise à jour du rôle des déterminants socioéconomiques sur la fréquentation. Mon approche part d’un postulat de base selon lequel il faut inscrire la visite muséale dans un rapport plus large à la culture pour appréhender le sens et les usages des musées d’art moderne et contemporain.

La récolte des données a eu lieu au cours de deux phases principales :une première quantitative suivie par une seconde qualitative. Le design est séquentiel (en deux étapes successives) et non équivalent puisque la première étape quantitative a plus de poids (terminologie basée sur Leech et Onwuegbuzie).

Pour la première phase, a été réalisée une enquête par questionnaires auprès des visiteurs de six musées en Belgique âgés de 15 ans et plus. Au total, 1900 questionnaires ont été récoltés et encodés. A partir de ces données, une analyse en correspondances multiples a été effectuée pour évaluer de quelle manière les différentes dimensions des profils culturels (goûts pour la musique, l’art et la lecture, participation culturelle, loisirs ordinaires, créativité) s’agencent les unes aux autres. Cette méthode a été choisie pour ses qualités inductives et relationnelles.

Cette analyse montre que les profils culturels peuvent être perçus comme le résultat de bricolages entre répertoires culturels. Ceux-ci doivent être compris comme des principes qui classifient les goûts et les pratiques et leur donnent sens. Parmi ces répertoires, la distinction culture haute versus culture basse à la Bourdieu conserve une place primordiale mais cohabite avec d’autres, tels que les distinctions omnivores versus univores (Peterson), voraces versus inactifs (Sullivan & Katz-Gerro), culture jeune versus culture classique, goût pour la transgression versus conservatisme. Cette thèse appuie en conséquence l’idée selon laquelle il n’y a eu ni de transformation unidirectionnel des snobs vers les omnivores (thèse de l’omnivorité), ni un effondrement des hiérarchies culturelles (massification et postmodernisme).

L’utilisation de ces répertoires est principalement influencée par l’âge, l’éducation (sous diverses formes) et le statut socioprofessionnel (qui met l’accent sur les différences en termes de cultures professionnelles). Les profils culturels s’ancrent dès lors toujours dans des structures sociales, contrairement à ce que pensent certaines théories individualistes plus extrêmes (Bauman), et continuent d’être structurés par des mécanismes de distinction, puisque les répertoires sont socialement valorisés.

Une classification hiérarchique ascendante a suivi l’analyse en correspondances multiples pour mettre à jour une typologie qui reflète les principales configurations des profils culturels. Six classes ont été identifiées :les cultivés classiques, les cultivés en retrait, les cultivés progressistes, les hédonistes, les éloignés culturels et les amoureux de l’art. Pour conduire la deuxième phase qualitative, trois personnes par classe ont été interviewées pour approfondir les donnés quantitatives sur leur rapport à la culture, à l’art et au musée. Au regard de cette analyse de discours, il apparaît que les six classes ainsi constituées partagent en leur sein des grilles de lecture similaires du rôle de l’art et de la culture au sein de la société moderne mais aussi du musée et agissent, ce faisant, en « communautés interprétatives » (Fish; Hooper-Greenhill). Comprendre la diversité des profils culturels des visiteurs (tout en prenant en compte l’origine sociale) permet, dès lors, de concevoir la multiplicité des rapports au musée./

What do we know about art museums’ visitors? This question can appear very trivial. Visitors of art museums seem to belong to educated elite. At least, this is the image that cultural participation surveys rightly spread. Nevertheless, this perspective focuses mainly on the characteristics of the population who do not visit museums, rather than on the characteristics of the museums' visitors. These surveys help indeed to define the sociodemographic particularities of visitors, with regards to the general population but do not investigate a possible diversity within the visitor population. They show that cultural democratization did not really happen but can we really conclude that the audience constitutes a homogeneous mass of snobs defined by a precise relation to the culture?

This presentation aims to go beyond this traditional approach in sociology that focuses on sociodemographic criteria and to show how diverse can be the audience. It intends to illustrate that visitors have heterogeneous cultural profiles (described by their tastes, cultural and creative activities, and more ordinary leisure), even if they tend to be similar from a socioeconomic viewpoint, and to evaluate which impact these cultural profiles have on the way of visiting a museum.

With the use of a multiple correspondence analysis and an ascending hierarchical classification, six different classes were distinguished among the visitors of six museums of modern and contemporary art in Belgium (N: 1900) according to their cultural profiles. Each cultural profile is considered as a bricolage of different cultural repertoires: low versus high culture (Bourdieu), univores versus omnivores (Peterson), voraces versus non-voraces (Sullivan & Katz-Gerro), classical versus young culture and traditional versus modern values. Instead of observing an unidirectional change from snobs to omnivores, my results suggests indeed that several repertoires interact with one another to structure cultural profiles and to give meaning to them. Finally, with selected interviews among the different six classes, it will be demonstrated that people with an analogous cultural profile tend to share similar interpretations of museums and act as "interpretative communities" (Fish; Hooper-Greenhill). Therefore, the meaning of a museum visit for visitors requires taking into account their cultural profiles.


Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished

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De, Miguel de Blas Marta. "Impact de la proximité identitaire « publics-musée d'art » sur la fréquentation des lieux culturels : le cas des musées d’art". Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCG004/document.

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La valeur qu’attachent les individus à l’égard d’un objet culturel peut être expliquée, entre autres, par leur projet identitaire d’appartenance à un groupe. Cette thèse propose de nouvelles orientations stratégiques muséales permettant d’augmenter la fréquentation muséale, de changer le rapport du musée d’art aux publics et d’attirer ainsi d’autres individus.Cette recherche a permis la conceptualisation de la proximité identitaire « publics-musée d’art », la confirmation de ses dimensions et antécédents, et enfin, l’analyse de la relation entre la proximité identitaire « publics-musée d’art » et la fréquentation. Par ailleurs, le développement d’une échelle de mesure de la proximité identitaire « publics-musée d’art » a élargi le cadre théorique des phénomènes d’identification et de leurs conséquences. Finalement la thèse propose des leviers d’action pour faciliter l’accès à l’art. Les musées ont intérêt à développer globalement une stratégie de proximité identitaire « publics-musée d’art » fondée sur le partage de caractéristiques communes et sur des dimensions affectives orientées vers toutes les catégories de publics. Plus particulièrement, les publics habitués seraient sensibles à des stratégies de rapprochement fondées sur le lien social et sur le partage de caractéristiques identitaires avec l’offre muséale ; les visiteurs occasionnels se rapprochent d’un musée d’art en étant le plus souvent accompagnés, et ressentent des émotions positives dans ces lieux ; et enfin une stratégie orientée vers le non public devrait permettre la valorisation de l’individu par rapport aux autres personnes de leur entourage
The value that individuals attach to a cultural object can be explained, among other things, by their identity project of belonging to a group. This thesis proposes new strategic orientations for museums that increase museum attendance, change the relationship of the art museum with the public and attract other individuals.This research allowed the conceptualization of the proximity of the "public-art museum" identity, the confirmation of its dimensions and antecedents, and finally the analysis of the relationship between the "public-art museum" identity proximity and the art museum attendance. Moreover, the development of a "public-art museum" identity proximity scale, offers to broaden the theoretical framework of the identification phenomena and its consequences.Finally, the thesis proposes levers of action to facilitate access to art. It is in the interest of museums to develop a strategy of "public-art museum" identity proximity based on the sharing of common characteristics and affective dimensions oriented towards all categories of public. In particular, the regular audiences would be sensitive to strategies of rapprochement based on the social bond and the sharing of identity characteristics with the museum offer. The occasional visitors feel closer to an art museum when being most often accompanied, and feel positive emotions in these places. And finally, a non-public-oriented strategy should enable the individual to be highly considered by other people in their environment
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Hou, Yue. "An investigation into visitors' satisfaction with Port Elizabeth's heritage museums". Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1250.

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Cultural and heritage tourism, one of the fastest growing segments of the tourism industry, is becoming a major pillar in the tourism strategy of many countries. Like elsewhere in the world, museums play a significant role in heritage tourism. South Africa has a rich history of intangible cultural heritage which manifests itself in oral history, traditional music and dance, social practices and indigenous knowledge systems. It is becoming more important for museum managers to identify the variables that will enhance the attraction and retention of museum visitors. The aim of the study was to determine tourists’ satisfaction with their visit to Port Elizabeth’s heritage museums by comparing their expectations and experiences. This could help museum marketers to better understand their customers, and design experiences that match their expectations. The literature review presented a brief overview of heritage tourism, the museum experience, and visitors’ satisfaction. Concepts of heritage tourism, functions of museums and the different museum attributes that might impact customer satisfaction were discussed. Literature on visitors’ satisfaction included descriptions of the expectations and approaches to measuring customer satisfaction. A museum satisfaction conceptual model resulted from these reviews. ii The proposed model was modified in the empirical study. The data were collected by means of a survey, using self-administered questionnaires distributed to visitors at three heritage museums in Port Elizabeth. Two hundred and twelve useable questionnaires were received. The empirical findings did not fully support the conceptual model. By conducting a factor analysis, the data was reduced to eight factors, namely, human interaction, physical evidence, facilities, facility quality, exhibition, edutainment, escape and aestheticism. It was found that the satisfaction mean scores were consistently higher than the expectation mean scores. This implies that museum visitors were satisfied with their experience of the three heritage museums in Port Elizabeth. Finally, the results of the paired sample t-test and regression analyses tested and explained formulated hypotheses. The principal recommendations emanating from this study are summarised in two groups, namely: • recommendations pertaining to the strategic implications of the findings in terms of service, facilities and experience. For example, the museum administration could establish more facilities for the disabled and the elderly, consider discounting and promotion programmes, and increase the use of technology in their displays. • recommendations for future research. For example, future studies could be applied to investigate visitors’ satisfaction with other heritage museums in South Africa.
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Thate, Heidrun. "La fondation des musées sous Napoléon : culture et politique dans les territoires frontaliers annexés : Bruxelles, Genève et Mayence". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H042.

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Cette recherche retrace l’histoire des envois de tableaux de l’État englobant les périodes du Directoire, du Consulat et de l’Empire. Grâce au dépouillement des archives publiques, la correspondance entre les acteurs locaux (maire et préfet, d’un côté) et les pouvoirs centraux(administration muséale et ministère de l’Intérieur, d’un autre côté) a pu être en grande partie reconstituée ; elle retrace la genèse de la naissance des musées de province. La suite chronologique de ces envois d’État de 1798 à 1814 prouve qu’il y a différents moments et différents types d’envois de tableaux. Seuls les envois issus de l’arrêté du 14 fructidor an IX (1er septembre 1801) et ceux issus de l’arrêté complémentaire du 16 fructidor an X (3 septembre 1802) se transformeront en création de musées lors de leur achèvement. Le récit et les aléas de l’histoire des envois donnent aussi un aperçu des convictions du ministre de l’Intérieur Jean-Antoine Chaptal (1756-1832) et de sa politique culturelle. Dès 1803, cette politique ministérielle sera parasitée par la gestion du Directeur général du Musée Napoléon, Dominique-Vivant Denon (1747-1825), qui, pour le moins, ne partage pas les positions du ministre. Parallèlement, germent les premiers bourgeons d’une politique culturelle préfectorale.L’intégration des trois villes de Bruxelles, Genève et Mayence dans la répartition artistique du14 fructidor an IX (1er septembre 1801) ne participe pas d’une politique d’assimilation ; elle relève clairement d’une volonté d’apaisement général de la Nation et d’un effort de réalisation de l’unité nationale chers surtout à Napoléon Bonaparte
This study explores the distribution of paintings by the French government during the periods of the Directory, Consulate, and the Napoleonic Empire. An examination of public archives resulted in the reconstitution of correspondences between local officials (such as themayor and the prefect) and central powers (administrators at the Louvre Museum and the Minister of the Interior). This research highlights the particular policies of the Minister of the Interior Jean-Antoine Chaptal (1756-1832), and sheds light upon the birth of provincial museums (musées de province). The chronology of these national shipments of paintings from1798 to 1814 demonstrates that there are different moments and different kinds of cultural transfers. Only shipments issued under the decree of Fructidor 14 year IX (1 September 1801)and those of the additional order of Fructidor 16 year X (3 September 1802) resulted in the creation of museums upon completion. The history and vagaries of these shipments also reflect the ideology and political beliefs of Chaptal, author and initiator of these two decrees.From 1803 on, this ministerial policy was challenged by the Director of the NapoleonMuseum (Directeur général du Musée Napoléon), Dominique-Vivant Denon (1747-1825),who did not share the Minister’s point of view. At the same time, the first signs of prefectural cultural policy began to appear. The integration of the three towns, Brussels, Geneva and Mainz, under the artistic redistribution of Fructidor 14, was not so much a sign of political assimilation but rather a general desire to appease the nation and achieve national unity -especially important to Napoleon Bonaparte
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Bosch, i. Darné Roser. ""Puzzled by all dots" La presencia de los acrílicos sobre tela de los desiertos Central y Occidental australianos en el espacio museísitico europeo: 1982-2012". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/378041.

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El presente estudio tiene por objetivo analizar la presencia del movimiento artístico de acrílicos sobre tela de los desiertos Central y Occidental australianos en el espacio museístico europeo. El marco temporal abarcado es de 1982-2012. En particular, se investiga dicha presencia, por un lado, a través de compilar las iniciativas de exposición temporal de dicho movimiento; y, por el otro, del análisis del proceso curatorial y de la materialización en el espacio físico del macro encargo de obras Aborígenes contemporáneas que se insertan hoy en el complejo arquitectónico del Musée du Quai Branly. El estudio pone el foco de atención en comprender la circulación de las obras en Europa (sus actores e instituciones de acogida), en subrayar la interculturalidad del fenómeno y en analizar las poéticas y políticas de construcción de la Aboriginalidad, presentes y pasadas, a través de dicho movimiento.
The following dissertation analyzes the presence of the Australian Central and Western Deserts acrylic movement in European museums from 1982 till 2012. Such presence is investigated by compiling European temporary exhibitions initiatives around the acrylic movement, and by analyzing Musée du Quai Branly’s double commission of contemporary Aboriginal artworks which are integrated today in the museum architectural complex as permanent displays. The main goals of this study are: to understand how Australian acrylic paintings from the desert have been circulating in Europe (by which actors and museums), to highlight the intercultural nature of this artistic movement and its circulation, as well as, to explore past and present representations of Aboriginality through the movement.
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Książki na temat "Art museum attendance – europe"

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Bourdieu, Pierre. The love of art: European art museums and their public. Cambridge, UK: Polity Press, 1991.

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Bourdieu, Pierre. The love of art: European art museums and their public. Cambridge: Polity, 1990.

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Bourdieu, Pierre. The love of art: European art museums and their public. Stanford, Calif: Stanford University Press, 1990.

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Duhaime, Carole P. La clientèle des musées d'art: Une revue de littérature. Montréal: École des hautes études commerciales, 1988.

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Duhaime, Carole P. La clientèle des musées d'art: Une revue de littérature. Montréal: Ecole des hautes études commerciales, 1988.

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Donker, Birgit, writer of foreword, Teeseling Steven van editor i Beerman Mirjam 1964 editor, red. Het geëmancipeerde museum. Amsterdam: Mondriaan Fonds, 2016.

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Lehalle, Evelyne. Musées et visiteurs: Un Observatoire permanent des publics. [Paris]: Ministère nationale de l'education et de la culture, Direction des musées de France, Département des publics, de l'action éducative et de la diffusion culturelle, 1993.

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Tony, Bennett. Art galleries, who goes?: A study of visitors to three Australian art galleries, with international comparisons. Redfern, NSW: Australia Council, 1991.

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Warczok, Tomasz. Miłośnicy, znawcy, koneserzy czy przechodnie?: Recepcja sztuki współczesnej na przykładzie galerii Górnego Śląska. Bielsko-Biała: Galeria Bielska BWA, 2010.

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Tolon, Brown Marc, red. Visiting the art museum. New York: E.P. Dutton, 1986.

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Części książek na temat "Art museum attendance – europe"

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Somogyi-Rohonczy, Zsófia. "Museum: The bridge between art and society". W Arts-Based Interventions and Social Change in Europe, 183–94. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003376927-26.

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Bewer, Francesca G. "Experiments in a Teaching Museum". W Histories of Conservation and Art History in Modern Europe, 127–42. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003127369-11.

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Čubrilo, Jasmina. "The Museum of Contemporary Art in Belgrade and Post-Revolutionary Desire". W Making Art History in Europe After 1945, 125–48. 1. | New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351187596-9.

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Tarasov, Oleg. "3. The New Museum of Medieval Icons". W How Divine Images Became Art, tłumacz Stella Rock, 67–116. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0378.03.

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This chapter is devoted to the creation of private museums of medieval icons and ‘primitives’ in Russia and Western Europe at the start of the twentieth century. One of these museums belonged to a famous Russian collector and artist, Ilya Ostroukhov (1858–1929). Ostroukhov shared a similar appreciation for ‘primitives on a gold background’ with the American art historian, art dealer and collector Bernard Berenson (1865–1959), a taste that Berenson had started to cultivate by the end of the nineteenth century. Taking as examples Russian, Italian and American collections of ancient icons, this chapter demonstrates common tendencies in the discovery, study and collecting of medieval icons and Italian ‘primitives’, as well as new trends in the European art market.
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Margolis, Oren. "The Book Half Open". W Openness in Medieval Europe, 289–310. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-23_15.

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A small, blind-tooled volume sits on a table covered in green baize: one clasp is open, the other is closed; and a slip of paper emerges from it reading Veritas odium parit (truth breeds hatred). This detail occurs in the foreground of a portrait by Hans Holbein of a young man identified as the Cologne patrician Hermann von Wedigh III (Metropolitan Museum of Art, New York). A study of the physical features of the book and of the history of the brief text — actually an ancient and then Erasmian adage — leads to a new interpretation of the painting in the context of humanist friendship. The book is seen to be a multivalent simile for the work of art authored by the artist as well as for the sitter himself, raising questions about the implications for these of a medium that can be opened and closed. The half-open condition of the book is understood to reflect the complementary pressures of openness and closedness, accessibility and intimacy, that characterized the Renaissance republic of letters.
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Mallinson, Jonathan. "13. 1936–39: Pottery for a Troubled World". W William Moorcroft, Potter, 291–326. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.13.

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Moorcroft’s reputation as a designer continued to grow in these years. His newly launched SunRay tea ware attracted the attention of the influential Council for Art and Industry, and was selected for exhibition both at home and abroad as a model of progressive design. But Moorcroft was openly critical of what he saw as the CAI’s narrow appreciation of his work. He asserted his independence in a letter to The Times, criticising the CAI’s selection criteria for the British display at the International Exhibition of Art and Technology in Paris, 1937, and provocatively exhibited his own selection of decorative pieces in the International Pavilion. His exhibit inspired an article in La Revue moderne which identified in his work a timeless moral value, a particularly significant response at a time when culture was becoming increasingly politicised in Europe. Not coincidentally, he publicised the prominent display of his work in the culturally tolerant Deutsches Museum in Munich, a gesture all the more eloquent as politically motivated exhibitions of National Socialist and of Degenerate Art were taking place less than a mile away at just this time. Moorcroft’s work was appreciated for what one critic called its ‘real truth’; his international reputation as a ceramic artist had never been higher. This double success as designer and artist was unparalleled at a time when the gulf between industrial and studio production was at its deepest. And it doubtless inspired Blackie to invite Moorcroft to write a book on his work; it would have followed publications by two of the most influential potters and instructors of the time, Gordon Forsyth and Dora Billington, who had each recently examined from different perspectives the future relationship of studio pottery and industrial design. The project, though, was barely begun, and only jottings survive which sketch out some of his guiding principles, not least his commitment to integrity in design. Moorcroft’s exhibition at the New York World’s Fair of 1939 again drew the attention of the national press. Ledgers indicate that his sales income was also steadily rising, although not by enough to completely offset the relentless increase in costs. The declaration of war would bring its own problems.
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Campbell, Elizabeth. "Nazi Art Plunder in Western Europe". W Museum Worthy, 11–46. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190051983.003.0002.

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Abstract This chapter provides an overview of Nazi looting operations in France, Belgium, and the Netherlands, illustrating differences in occupation institutions, German and collaborationist antisemitic persecution, and the extent of cultural plunder. Despite contrasting trends and circumstances, the Nazis and their agents employed similar plundering mechanisms in the three countries. They drew on existing bureaucracies to seize items from Jewish homes, galleries, bank vaults, and repositories, and dominated a booming art market. While benefiting from a skewed exchange rate favoring the Third Reich, they amassed works at crowded auction houses in Paris, Brussels, and Amsterdam, and they pursued private sales with varying degrees of coercion, using thinly veiled threats to persuade more reluctant sellers.
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"Woven basket: Untethered art". W Weaving Europe, Crafting the Museum. Bloomsbury Visual Arts, 2023. http://dx.doi.org/10.5040/9781350226760.ch-3.

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Campbell, Elizabeth. "Recovered Art as French Patrimony". W Museum Worthy, 116–45. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190051983.003.0005.

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Abstract Among the countries of western Europe, France lost the greatest number of artworks through Nazi plunder and correspondingly received the most items in the MFAA repatriation effort—around sixty thousand pieces. This chapter examines the French government’s successful restitution of some forty-five thousand items by 1949. Over the next four years, French authorities selected more than two thousand of the remaining objects for display in public museums, palaces, and other government buildings. The appropriated items swiftly became part of the national cultural patrimony, as curators vied to secure the most coveted of so-called heirless items for museums across France. The state also sold lesser items not selected for the custodianship and deposited proceeds into the national treasury, thus further benefiting from the recovery of artworks at the expense of potential owners.
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Simsek, Müge, Konstanze Jacob, Fenella Fleischmann i Frank van Tubergen. "Keeping or Losing Faith? Comparing Religion across Majority and Minority Youth in Europe". W Growing up in Diverse Societies, 246–73. British Academy, 2018. http://dx.doi.org/10.5871/bacad/9780197266373.003.0010.

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In this chapter we explore how religious minority and majority youth are in England, Germany, the Netherlands and Sweden. We find that minority youth are on average more often affiliated to a religion than majority youth, and mostly affiliated as Christians. We also study religious salience, praying and service attendance. The share of minority and majority youth who expresses that religion is important in their lives is higher than the share of youth who engages in daily prayer or weekly service attendance. Specifically, Muslim youth stand out as the most religious on all accounts. Our further comparison of the religious salience of youth with that of their parents reveals that intergenerational religious change has a declining tendency, though also quite some stability exists, especially among Muslim immigrants. Together, these findings suggest overall low levels of religious salience and practice among majority youth, in contrast to minority youth—in particular Muslims—and a general pattern of intergenerational decline in the importance of religion.
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Streszczenia konferencji na temat "Art museum attendance – europe"

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

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Purpose –The purpose of this study is to identify the criteria for sustainable museums found in reference literature and specified in our research, and to suggest guidelines for museums to follow. Methodology –In our primary research, the criteria for a sustainable museum were interpreted along four pillars, for which in-depth expert interviews were conducted with Hungarian museum professionals. Semi-structured interviews were used to explore the viewpoints, expectations, and perceptions of museum staff. Findings – In terms of environmental sustainability, Hungarian contemporary museums place less emphasis on making the museum building itself more sustainable. However, it is worthwhile for institutions that have long-term plans to become more and more eco-friendly. The issue of economic sustainability is the most problematic for Hungarian museums, which can be greatly improved with an active support community that helps museums either through volunteer work or financially. From a social point of view, one of the most important tasks of museums is to ensure equal opportunities, to reach the widest possible range of people, which is facilitated if the museum can function as a community space that adequately involves museum visitors and if it continuously strengthens its role in education. In terms of cultural sustainability, the responsibilities of museums are collection management, maintaining quality, and artistic vitality. Contribution – We conceptualize and provide a framework for sustainable museums. Through our research, we have contributed to broadening the theoretical background of sustainable museums from the perspective of contemporary art museums.
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Banu, Ionut Alexandru. "Iconographic representations on glass from the collection of dr. Nicolae Minovici museum of popular art". W Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.18.

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The icon on glass, more precisely the icon painted on the back of the glass, is a category of folk art, a genre of folk art practiced almost exclusively in Transylvania and which must be related to some influences from Central Europe. Through this communication, we set out to research, in more detail, a part of the collection of cult objects – icons on glass, bringing to the public’s attention some data about several items of this collection. From this category of heritage, the collection of Dr. Nicolae Minovici Museum of Folk Art counts about 30 icons on glass, made in Transylvania and being dated in the period between the XVIII–XIX centuries. They were made in the two great Transylvanian workshops, Șcheii Brașovului (20 icons) and the one from Nicula (10 icons). The work is structured in two parts; the first part includes some general data about icons, iconography, the appearance of the icon on glass and iconographic centers in our country, especially in Transylvania, where the objects from the museum’s collection were made. The second part includes a series of iconographic representations on glass from the museum’s patrimony, accompanied by descriptions, information on the workshop, craftsmen and technical data.
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Zeng, Lei, i Hong Chen. "A case study of the Shanghai No. 20 tram on cultural bus service design based on the AT-ONE Rule". W 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003817.

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In the new era environment, the metropolitan public transportation system is constantly evolving. The relevant administrative departments in Shanghai have proposed measures to create cultural buses and build characteristic lines in order to promote Shanghai culture and improve bus service. Using the Shanghai NO.20 tram as an example, this paper investigates how to combine Shanghai culture with tram ride service in order to make the NO.20 tram a distinctive route. The study employed participatory observation and the AT-ONE rule to investigate the entire waiting, boarding, and alighting process, as well as to analyze the passenger experience and service flow of the NO.20 tram, in combined with the urban cultural elements of Shanghai. Based on the service design concept, the corresponding design strategies and measures were proposed.Study content. 1.Service design and the AT-ONE rule The goal of service design, which establishes the service from the customer's perspective, is to ensure that the service meets the user's requirements. One of the most common methods in service design research is the AT-ONE rule. It is a method of user-centered design that connects stakeholders through various touch points.2.Analysis of Shanghai culture Shanghai culture is a unique cultural phenomenon based on the traditional culture of Jiangnan (Wu-Yue culture) and the fusion of modern industrial civilization from Europe and the United States, which had a profound impact on Shanghai after the opening of the port. 3.Analysis of No.20 tram and design elements The "Mobile Bus Museum" is the name given to the No. 20 tram, which connects Jing'an Temple Station and Zhaofeng Park Station. Passengers, ride process, primary touch points, and other design components are all examined. This section examines individual passenger characteristics, focusing primarily on the elderly, with less emphasis on the young and middle-aged populations. The ride has three stages: waiting, riding, and getting off. The main points of contact are the armrests, seats, LED screen, and so on. Analyzing numerous design features is an important part of improving passenger riding experience and creating a cultural bus.4. No.20 tram design strategy External design strategy（1）External painting artistry The purpose of exterior painting artistry is to improve the appearance of the vehicle and the passenger riding experience. It primarily mixes Shanghai's history and contemporary style, with a concentration on Art Deco, technology, Pop, and retro styles.（2）Stylized external shape The outside shape is mostly mixed with Shanghai's characteristic architectural style for local enhancement, such as Art Deco style, in order to evoke a nostalgic feeling of Shanghai culture among local passengers and increase the recognition of No. 20 tram. Internal design strategy （1）Scientific interior layout The scientific layout of the car ensures the passengers' ease, comfort, and safety during the voyage. This part is concerned with the scientific design of the interior space in order to fulfill the needs of various passengers and improve their riding experience.（2）Humanized design of interior facilities Humanized design is a growing trend and an unavoidable requirement in modern urban bus design, and humanized interior facilities can improve passenger travel quality. The intelligent facilities (LED screen, intelligent audio, etc.) and infrastructure (seats, handrails, etc.) inside the bus are designed to effectively improve the comfort and fun of passenger travel based on the results of the pre-AT-ONE rule analysis. 5. 20 cultural bus prototype test The styling elements of the No. 20 tram were taken from the old trolleybus, and the side of the body depicts the major changes of Shanghai trams over the past century, presenting an overall retro style. The interior is predominantly blue, echoing the body painting. To meet the travel needs of different passengers, the interior space is divided into love seat area, wheelchair area, and seating area; the interior facilities are also optimized based on the preliminary contact analysis, such as more beautiful and intelligent LED screen style and interactive interface, more comfortable and safe seats and handrails, etc., which not only improve the travel experience of passengers but also promote the spread of Shanghai culture. 6. Summary Creating an image of Shanghai's 'Century Bus' culture and bus service is a major goal proposed by the Shanghai government, with the goal of combining Shanghai culture with buses, improving bus service, and promoting Shanghai's cultural heritage. The AT-ONE rule guides the exploration of cultural bus service design strategies for its five dimensions of service subjects, touchpoints, service supply, user needs, and user experience, with the goal of improving the original bus service model and enhancing user experience.
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