Rozprawy doktorskie: „Art museum visitors – europe”

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Kravchyna, Victoria. "Information Needs of Art Museum Visitors: Real and Virtual". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4692/.

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Museums and libraries are considered large repositories of human knowledge and human culture. They have similar missions and goals in distributing accumulated knowledge to society. Current digitization projects allow both, museums and libraries to reach a broader audience, share their resources with a variety of users. While studies of information seeking behavior, retrieval systems and metadata in library science have a long history; such research studies in museum environments are at their early experimental stage. There are few studies concerning information seeking behavior and needs of virtual museum visitors, especially with the use of images in the museums' collections available on the Web. The current study identifies preferences of a variety of user groups about the information specifics on current exhibits, museum collections metadata information, and the use of multimedia. The study of information seeking behavior of users groups of museum digital collections or cultural collections allows examination and analysis of users' information needs, and the organization of cultural information, including descriptive metadata and the quantity of information that may be required. In addition, the study delineates information needs that different categories of users may have in common: teachers in high schools, students in colleges and universities, museum professionals, art historians and researchers, and the general public. This research also compares informational and educational needs of real visitors with the needs of virtual visitors. Educational needs of real visitors are based on various studies conducted and summarized by Falk and Dierking (2000), and an evaluation of the art museum websites previously conducted to support the current study.

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

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

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Smith, Martha Kellogg. "Art information use and needs of non-specialists : evidence in art museum visitor studies /". Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/7182.

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Mbuyi, Ruddy. "Who are the visitors to the National Museum in Stockholm?Sweden's museum of art and design". Thesis, Södertörns högskola, Turismvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39873.

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The purpose of the research study was to find about who the National Museum visitors are and what is their five reasons and motives to visit the National Museum. To get a better understanding about finding out who are the National Museum visitors a qualitative method was used in the form of a questionnaire that dealt with questions about the respondent’s demographic background and open questions related to finding out more details about the respondents’ reasons to visit the National Museum that is an art and design museum. The data that was gathered from the questionnaire was analysed through the use of a thematic analysis to find specific themes based on the female and male respondent’s answers. The results indicate that most of the respondents who took part in the questionnaire on the 5th of April 2019 at the National Museum are a mix of female and male between the age 20-72 years from Sweden and other countries, all of them have a higher education (High School, Bachelor and Master Degree) and have studied art, history of art or design. The reason that many of the respondents choose to visit the museum and what attracted them to the National Museum was foremost for they all share an interest in art and design. The National Museum itself is an interesting place to be at because many of the female and male respondents have an appreciation in the art and design collections and exhibitions that is displayed at the museum. The National Museum offers a free admission and entry so many of them could visit the museum either by themselves or with a companion, and many of the respondents like how the National Museum teaches history about the art and design.

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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.

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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.

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Tam, Cheung On. "Understanding museum visitors' experience of paintings : a phenomenological study of adult non-art specialists". Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10006676/.

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Penzel, Joachim. "Der Betrachter ist im Text : Konversations- und Lesekultur in deutschen Gemäldegalerien zwischen 1700 und 1914". Münster LIT, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2919099&prov=M&dokv̲ar=1&doke̲xt=htm.

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Sweney, Barbara Zollinger. "Student learning in an art museum: a study of docent-led tours and changes in docent training to improve visitors' experiences". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1068230273.

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Evans, Laura E. "Eating Our Words: How Museum Visitors and a Sample of Women Narratively React to and Interpret Lauren Greenfield's THIN". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299860725.

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Aljuidan, Hanan Abdulaziz M. "Building a Collaborative Smartphone Application for Blind and Low Vision Visitors at the Dallas Museum of Art". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505223/.

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The goal of my study is to develop a mobile application to enable all visitors, including blind and low-vision visitors, to autonomously gather and share information about interpretations of art and to have a fully independent museum-going experience. With an application, blind visitors have more access to opportunities and tools in the museum, which empowers their museum experience. My study used a qualitative, mixed-methods approach to research how blind and low vision museum visitors might increase their independence in the museum space and discover ways to equalize their access without relying on museum educators. In carrying out my study, I conducted interviews and collected data based on observations and transcribed and analyzed them using a grounded theory approach. I used Freire's theory of pedagogy of the oppressed and hooks' theory of education as the practice of freedom to frame my study.

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Sweeney, Barbara Zollinger. "Student learning in an art museum: a study of docent-led tours and changes in docent training to improve visitors' experiences". Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1068230273.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xix, 359 p.; also includes graphics. Includes abstract and vita. Advisor: Terry Barrett, Dept. of Art Education. Includes bibliographical references (p. 436-458).

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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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D’, Alba Adriana. "Analyzing Visitors’ Discourse, Attitudes, Perceptions, and Knowledge Acquisition in an Art Museum Tour After Using a 3D Virtual Environment". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115062/.

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The main purpose of this mixed methods research was to explore and analyze visitors’ overall experience while they attended a museum exhibition, and examine how this experience was affected by previously using a virtual 3dimensional representation of the museum itself. The research measured knowledge acquisition in a virtual museum, and compared this knowledge acquired between a virtual museum versus a real one, employing a series of questionnaires, unobtrusive observations, surveys, personal and group interviews related to the exhibition and the artist. A group of twenty-seven undergraduate students in their first semester at the College of Architecture and Design of the Autonomous University of the State of Mexico participated in the research, and were divided in two groups, one of which used a 3D virtual representation previous to the museum visit. Results show that participants who experienced the virtual museum concurred that using it was a positive experience that prepared them to go to the real museum because they knew already what they were going to find. Most of the participants who experienced the virtual museum exhibited an increased activity during their museum visit, either agreeing, being more participative, concurring and showing acceptance, asking questions, or even giving their opinion and analysis, disagreeing with the guide and showing passive rejection. Also participants from this group showed an increase on their correct answers to the knowledge acquisition questionnaires, going from 27% answers responded correctly in the pre-test, to 67% of correct answers after the virtual museum usage. The research attempted to show that experiencing a virtual museum can be similar to the experience in physical museum visits, not only engaging participants to go to the museum, but sometimes even offering a more functional way to deliver content. Results of this research evidence that using a virtual museum creates a positive impact in users before, during, and after the museum visit, and that it can be a good alternative, not only for educational, but for promotional and recreational and purposes.

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Betancourt, Veronica Elena. "Visiting while Latinx: An Intersectional Analysis of the Experiences of Subjectivity among Latinx Visitors to Encyclopedic Art Museums". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1561819806003679.

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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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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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Tengblad, Johanna. "”Inte som att läsa hemma direkt” : Faktorer som påverkar besökares tillgänglighet till introducerande konstutställningstexter". Thesis, Uppsala universitet, Institutionen för ABM, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448310.

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This thesis investigates the factors that influence whether visitors to art exhibitions experience accessible introductory art labels or not. From the need of making art exhibitions and their communication available to more people of society the aim with this study is to increase awareness about the factors that influence accessibility and generate ideas about useful theory concerning accessible labels. By connecting theory concerning the purpose of art exhibitions, the social context of art exhibitions, orientation and disorientation and different views related to exhibition labels the author, by influence from the swedish Special pedagogy educational authority (Specialpedagogiska skolmyndigheten) accessibility model ”tillgänglighetsmodellen”, creates a accessibility model concerning the context of introductory art labels. The study gathered material from visitor interviews and observations from two different art exhibition institutions in Stockholm: Bonniers Konsthall and Spritmuseum, one art gallery and one cultural museum with an art exhibition feature. The analysis from the field work then formed the content of the accessibility model concerning the context of introductory art labels. As a background to the ideas behind the labels interviews where also performed with personnel in command of the communication concerning the labels. The results show that the visitors experience of accessible introductory art labels can be related to physical, social and pedagogical factors. Where the physical factors included reading situation, placing, lighting and soundscape. The social factors included other visitors, the willingness to ”do things right” and disorientation, confusion and uncertainty. The pedagogical factors included legibility, readability and well worth reading. The study also shows that the visitors pre-knowledge of art and habit of visiting art exhibitions could influence the visitors experience of accessibility. Where visitors without pre-knowledge about art history in the art gallery Bonniers Konsthall all found the texts non-accessible depending on a mix of physical, social and pedagogical factors. At the cultural museum Spritmuseum however visitors without pre-knowledge of art could find the text accessible. There a positive experience of the reading situation, including lightning and few other visitors, made visitors feel that the text where more accessible even when they experienced some difficulty with the accessibility related to pedagogical factors like text length. The study shows that the different factors of accessibility related to introductory art labels interacted and influenced the overall experience of text accessibility. This is a two years master's thesis in Museum and cultural heritage studies.

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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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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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Ruoso, Carolina. "Nid de frelons : neuf temps pour neuf atlas : histoire d'un musée d'art brésilien (1961-2011)". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H059/document.

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Cette recherche cherche à comprendre comment le musée d'art de l'université du Ceara (MAUC) est devenu un nid de frelons. Afin d'étudier ce phénomène, nous avons analysé les cinquante premières années de sa trajectoire (1961-2011), en partant de l'intrigue sur les modèles de musée en dispute à la fin du XXème siècle dans la ville de Fortaleza, et aussi à parti des controverses autour de sa mémoire. Nous avons organisé notre récit en Neuf temps pour neuf Atlas, en analysant ce nid de frelons de l'intérieur et de l'extérieur, en le prenant à l'envers à rebrousse-poil. Pour cette raison, nous présentons le MAUC au travers de ses coulisses, en observant par-derrière les vitrines quels sont les caractéristiques et les mouvements propres de cette désignation. Pour nous, un musée nid de frelons est traversé par la mise sous silence, en même temps qu'il développe des pratiques communautaires et collaboratives qui sont constitutives de sa trajectoire, contribuant à l'élaboration conceptuelle élargie de ses processus curatoriaux. Dans cette thèse, nous démêlons les aspects conceptuels qui justifient la création du MAUC. Au travers d'une lecture de la circulation de savoirs, d'œuvres d'art et d'exposition nous établissons une cartographie des réseaux de relations mobilisés par ce musée au travers de son programme structurel. Nous enquêtons sur les possibilités de création artistique dans l'espace physique du musée et sur les dimensions de collaboration proposées par l'institution en ce qui concerne la fabrique d'expositions et d'œuvres d'art. Nous cherchons aussi à identifier les formes de voir et d'être des visiteurs dans le MAUC au travers du regard des photographes de vue d'exposition
This research sought to understand how Museum de Arte da Universidade do Ceara (MAUC) has become a Hornets House. In order to elaborate this explanation, we observed fifty years of it history (1961-2011), starting from the intrigue about the museum models in dispute in the late twentieth century, in Fortaleza city, as well as about the controversies involving its memory. So we organized our narrative in Nove Tempos para Nove Atlas, trying to analyze this Hornet House inside out, against the grain, and for this reason we present the MAUC through it scenes, watching from behind the windows, which are the characteristics and movements to this adjective. We understand that a Hornets House Museum goes through silence, while develop community and collaborative practices that take part of its history, contributing to the broad conceptual elaboration of its curatorial process. In this thesis we unfold its conceptual aspect that justified the creation of MAUC. We traced through a reading on knowledge circulation works of art and exhibitions, a mapping of relationships networks mobilized by this museum through its structural program. We investigate the possibilities of artistic creation in the physical museum space and the dimensions of cooperation proposed by the institution regarding expositions and works of art. We also try to identify the ways of seeing and being of the visitors at MAUC through the eyes of photographers while viewing exposures

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Choi, Eunjung. "Museum visitors' experiences of viewing Korean art". 2012. http://hdl.handle.net/2152/19657.

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This research focuses on revealing the entrance narratives that visitors bring into the process of viewing Korean art. This qualitative case study is based on the Arts of Korea gallery at the Museum of Fine Arts, Houston. Using semi-structured interview as the tool, I gathered narratives related to the Korean artworks on display from sixteen visitors as well as the curator in charge of the gallery. The analysis of the responses shows how visitors’ personal interest, taste, experience, and cultural background affect the viewing of Korean art. The study corroborates the notion that visitors engage with works of art on a very personal level by entering the museum with their own prior knowledge and experience, which could relate to the objects (Falk & Dierking, 1992, 2000, 2009; Hein, 1998, 1999; Hooper-Greenhill, 1992, 1999). Using visitors’ entrance narratives as negotiation points in the gallery will foster a more dynamic interaction between visitors and Korean art. Furthermore, acknowledging what visitors bring into the Korean gallery could serve as a platform to learn what they take away from the exhibition.
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Chen, Shin-Chung, i 陳信中. "Illustration Creation and Research of Mirror Image between Art Museum and Museum Visitors". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/50052649371917812870.

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碩士
崑山科技大學
視覺傳達設計研究所
103
The purpose of this creation is to explore the relationship between exhibition spaces and visitors. By using illustrations and working with space arrangement, we want to make the whole space a part of the creation, and the visitors as well when they look around. In the literature, we will explore the impact of cultural industries on exhibitions, image expression and visual cognition theory. The figures in this article are mainly about the image composition and the camera language collected from drawing books and comic books. The concept of this creation comes from all the literature and data we’ve reviewed. By letting the visitors be watched when they are looking at art pieces, we observe people visiting art galleries, museums, exhibition spaces, etc, and explore the relationships between them. People usually hope to get some reward and idea when visiting those places, but in fact, they would readily get “what they want to get in their minds”. So when people look at art pieces in galleries or museums, the art pieces are like mirrors virtually reflect what people think in their mind. The concern of this study is to switch roles constantly between visitors and art pieces by creating an environment that you can look at the characters in the illustration and they also look at you. This makes visitors a part of the creation, and they both have two roles, the one who sees and be seen, and we understand that art piece and visitor are kind of like reflection to each other but not totally the same.

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Neumann, Sara Tess. "Visitor interaction with video art". 2012. http://hdl.handle.net/2152/19672.

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The purpose of this study was to see how visitors to the Landmarks Video media station in the Art Building at The University of Texas at Austin described how they make meaning while watching video art and what learning models those visitors drew on in their responses. I conducted a qualitative case study using semi-structured interviews to see how visitors described their meaning making process. I used discourse analysis to compare the visitor’s responses to art and film theories to see where the responses and the existing theories overlapped. I applied the results of the discourse analysis to determine how visual literacy and media literacy could be used in museum education surrounding video art. Visitors drew on a variety of background experiences in their responses to the videos Sigalit Landau’s DeadSee (2005) and Dara Birnbaum’s Technology/Transformation: Wonder Woman (1978-1979) including past experiences with art and film as well as experiences with feminism, pop culture, and politics. Their responses also related to a variety of areas within art and film theory. While background knowledge helped the participants begin to make meaning with the videos, it also blocked them when the video touched on something beyond their comfort level. I researched current uses of visual literacy, including uses in the museum, and current trends in media literacy. Due to the fact that the visitors’ reactions related to art and film theory, but they were finding themselves blocked in their meaning making, I conclude that a museum education program that uses current museum education practices in visual literacy, but incorporates techniques from media literacy, would be successful in helping visitors articulate their interpretations of a piece of video art and move past what is limiting them.
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Lo, Mei-lan, i 羅美蘭. "The Study of Relationship between Art Museum Visitors'''''''' Characteristics and Art Appreciation Ability". Thesis, 1993. http://ndltd.ncl.edu.tw/handle/62087108591834487477.

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Arens, Meghan. "Missing! : visitor service in art museums : if found, please call-- /". 2004. http://library2.jfku.edu/Museum_Studies/Missing!_Visitor_Services_in_Art_Museums.pdf.

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Bruemmer, Lisa M. "Towards a visitor-friendly guard experience in U.S. art museums /". 2005. http://library2.jfku.edu/Museum_Studies/Towards_a_Visitor_Friendly.pdf.

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Chiu, Tzu-Yu, i 邱子育. "A Case Study of Keelung YM Oceanic Culture & Art Museum Community Non-visitors' Museum Experience and Imagination". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/51360528111457386538.

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碩士
輔仁大學
博物館學研究所碩士班
97
This qualitative research is a case study of the YM Oceanic Culture & Art Museum (hereafter referred to as OCAM), located in the inner Keelung Port. This research aims to present non-visitors’ voices to inspire museums in the future planning, and to remind that museum professionals should listen to the various voices from the communities while planning the interpretation programme and exhibition. In order to explore the views of different generations, eight participants, age above 48-year-old and below 38-year-old, agreed to participant the interviews and observation. They are the community non-visitors, that is, himself/ herself or the family members use to work or still work in the fields of marine transportation, or port services in the Keelung Port, morever, they have never visited or merely visited once the OCAM during a given period. The interviews and observations attempt to know the participants’life experiences and memories associated with the Keelung Port, how they related to the OCAM in the present and past, as well as how the participants imagine museums, furthermore, to understand their visiting behaviors and opinions to the exhibitions at the OCAM. The aim of this research is to increase the understanding of the community non-visitors and to express the social role of the OCAM while improving the further audience development and communication. The findings lead to the suggestions about museum environmental improvement, exhibition plan and audience development for the OCAM and museums in Taiwan on planning long-tern target audience development strategy.

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Pai, Shao-Chi, i 白少琦. "The Study of Visitors' Art life styles and Leisure Satisfaction:A Case Study in Taipei Fine Art Museum". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/24458651892826387600.

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碩士
國立臺灣師範大學
社會教育學系在職進修碩士班
100
The main purpose of this study is to understand visitors’ art life styles, leisure satisfaction, and the status of their relations at the Taipei Fine Art Museum. The convenience sampling method is conducted. To collect data of this study, 400 questionnaires are sent. 385 of them are effective. Descriptive statistics, t-test, reliability analysis, one-way ANONA, Pearson product-moment correlation and Simple regression analysis are utilized to analyze data. The conclusions and suggestions were listed as follows. 1. Conclusions (1) visitors’ art life styles were rated average, and leisure satisfaction is rated intermediate-high. (2) The gender, marriage status, visiting hour, companion, and artistic work affect the art life styles. (3) The gender, education background, visiting hour, companion, and artistic work affect the leisure satisfaction of visitors. (4)There were significant positive correlation between art life styles and leisure satisfaction. (5)The leisure satisfaction can be significantly predicated by art life styles. 2. Suggestion (1)For Taipei Fine Art Museum: Plan activities or services especially for feminine visitors, family visitors, artistic workers and students. (2)For future researchers Further Research in the aspects of object of study, research time, research technique, exhibition property, and variable of study, to expand the visitor study。

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Li, Feng-yi, i 李鳳儀. "A Research on the Phenomena and Theories of the Art Museum Visitors'' Abnormal Behaviorism". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/82957289247900711424.

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碩士
南華大學
美學與藝術管理研究所
93
The thesis contains five chapters. Chapter 1 (The Introduction) states the research motive, purpose, method, structure, scope, limits, literature review, and term explanation, and so on, of the thesis. Chapter 2 (The Theory on the Museum Visitors'' Abnormal Behavior) states that a visit to the museum is a trend and then discusses if the museum visitors'' abnormal behavior, including hallucination, fantasy, self-infliction, and even self-murder, violates the law, and how the museum staff should take emergency measures towards this kind of behavior. It further analyzes the psychological factors of the aggressive and unaggressive abnormal behavior, using the National Taiwan Museum of Fine Arts as an example. Chapter 3 (A Study of the Theory on the Showing of the Visitors'' Abnormal Behavior in the Museum) discusses the relationship between family concern and the showing of the abnormal behavior, and it also looks into the theoretical foundations of the abnormal behavior from the aspects of social psychology, educational psychology, normal and abnormal psychological states. Finally it sets the handling mode for the abnormal behavior from the viewpoint of psychiatry. Chapter 4 (The Prevention, Cure, and facilitation of the Museum Visitors'' Abnormal Behavior) states that after research, we should start preventing and curing the visitors with abnormal behavior by the guidance of family and educational system, supported by art therapy such as music and artistic creation. The social concern can also be shown through the help of the community and the administration of the sanitation system. Chapter 5 (Conclusion and Suggestion) shows the research reveals that with the rapid development of society, more and more people with mental illness live together with people with mental health in our society, but we have no idea when the abnormal behavior will show up. So, it concludes: first, much abnormal behavior does exist in the broad courtyard of the museum; second, the museum visitors'' abnormal behavior comes about as a result of the change of the structure of our society and the mind of the public being in conflict, contradiction, and discordance; third, to ensure the safety of the people, the matters, and the objects, the museum should set up a reasonable mode to handle the museum visitors'' abnormal behavior. Lastly, the thesis offers suggestions and issues derived from this thesis for further research.

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Moody, Leslie Ann. "Meaning making and the Blanton Museum of Art : a case study". Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1886.

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This case study explores the collaborative conversation between curators and educators in the Blanton Museum of Art at the University of Texas at Austin, and how these conversations affect didactic texts in the museum galleries. By situating the Blanton Museum in a larger historical framework, the focus of this study maps out the historical perspectives informing the museum during a pivotal integration of collecting areas, including Latin American and American modern and contemporary collections, and explores how the Blanton Museum attempted to facilitate learning and meaning-making for the visitor through didactic wall texts.
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HSIEH, YU-TING, i 謝宇婷. "Representation of Trauma and Visitors’ Interpretations in Contemporary Art: A Case Study of “Rosa’s Wound” at Museum of Contemporary Art, Taipei". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/4p8zys.

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碩士
國立臺北藝術大學
博物館研究所
107
This thesis takes "Rosa’s Wound", an exhibition held in Museum of Contemporary Art, Taipei, in 2017, as a case study to explore how contemporary art exhibition represents and transforms historical and national trauma of Asia as well as how Taiwanese audience understand and interpret this kind of exhibition. The methodology I utilized includes exhibition analysis, curator interview and focus group interview, in which I invited young audience with and without artistic backgrounds to compare how they comprehend and interpret the exhibition. In "Rosa’s Wound", Curator Hsiang Ning Huang suggests that “wound” is not only a slit but a possible path to further connect traumatic history of Asian countries to form a collective Asian identity. She extends the discussion of historical trauma from events in the past to the future by not only telling the forbidden histories to mourn the victims but also pointing out how the oppressive structure in Asia has been an ongoing nightmare threatening democracy and freedom. However, the focus group interview and exhibition analysis show that these linkages and relations were not easily detectable to the audience. First, there is an inconsistency between the Western, feminine name Rosa that implies Holocaust and the Asian, conceptual exhibition content. And the inconsistency along with the blocked, separated exhibition space results in a gap between discourse and artworks to the audience. Thus, it is less possible for the audience to form deeper relations such as witnessing with the artworks and the history it represents. The complicated histories and various types of trauma shown in the exhibition also adds difficulties for audience to organize messages and grasp ideas. Overall, it is still an ongoing process to build understandings of traumas in Asia. In addition, I discover the different preferences between audience of artistic and non-artistic background. The former prefers transactive artworks that create space for imagination and interpretations while the latter prefers communicative artworks that are more straightforward. Finally, in spite of the limitations in "Rosa’s Wound", the audience still values art exhibition as a unique approach to understand and empathize trauma, complementing aspects that cannot be accessed through historical documents and objects. Hopefully, this thesis provides some insights for future curatorial teams and artists to explore and reflect on historical trauma, developing more possibilities to approach this difficult issue.

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CHEN, TING-TING, i 陳婷婷. "A Study on the Exhibition Strategy and Family Visitors’ Experiential Learning in the Children’s Museum of Art". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/70151703724881643366.

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博士
國立高雄師範大學
工業科技教育學系
105
In this study, the Kaohsiung Children’s Museum of Art is used as an example to explore the exhibition strategy of a children’s museum of art, analyze which kind of experiential learning a children’s museum of art can bring for family visitors, and investigate how to promote scaffolding learning and parent-child co-learning. Based on a hybrid research design, this study consists of a quantitative analysis first and then a qualitative analysis with its focus on the latter. The data acquired from the quantitative analysis were used as the sampling guidelines and design references for the qualitative analysis. Totally eight sets of family visitors to the Kaohsiung Children’s Museum of Arts were selected through purposive sampling for the qualitative analysis and their written responses are acquired and analyzed using the content analysis method to examine the exhibition strategy. Then the analytic induction method was used to examine their experiential learning. Through the thematic coding and research reflection based on the structure and principles of the Generic Learning Outcomes evaluation model, the “learning experiences” of family visitors during their museum visits and their “learning outcomes” after the visits are extracted to assess the influences of the museum’s exhibition strategy on their experiential learning. The findings of this research are as follows: 1. The goal of application of a children’s museum of art are derived from the Constructionism Learning Theory and there are five characteristics of learning at a children’s museum of art: (1) learning as a proactive and free choice made by individual visitors; (2) learning as tools; (3) situated learning; (4) contextualized learning; and (5) learning through social interactions. 2. The “learning experiences” of family visitors are mostly “improvement of knowledge and understanding”, “improvement of skills” and “changes in attitudes or values”. These three types of learning experiences are mostly initiated through social interactions. The learning outcomes of family visitors are manifested mostly in “changes in attitudes or values”, “enjoyment, inspiration and creativity”, and “changes in activity and behavior”. These three types of learning outcomes can reflect the internalization process of an individual visitor’s proactive learning. 3. The influences of the exhibition strategy of a children’s museum of art on the experiential learning of family visitors can be concluded in the following four aspects: (1) the exhibition topic has an influence on the learning motivation of family visitors; (2) immediate sense of achievement has an influence on the learning motivation of family visitors; (3) exhibition strategy that can promote parent-children interactions can enhance the learning outcomes of family visitors; and (4) the influence of exhibition strategy on parent-children co-learning can indirectly affect family visitors’ experiential learning.

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Kuo, Chiao-Chen, i 郭巧蓁. "A study of Label and Memory from the Viewpoint of Adult Visitors in the Denver Art Museum". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/88154516703402730074.

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碩士
國立臺南藝術大學
博物館學與古物維護研究所
99
As the major art educational institution, art museums provide audio and physical tours and exhibit labels to assist visitors in their appreciation of the art. Among those tools, texts is the most convenient and accessible one, which meets visitors’ learning need at the first time. The art museum label plays an important communicative role between the artwork and visitors, labels function to remind and explain and it can achieve the visitors’ learning effect. This study aimed to explore the appropriateness of art museum label reading and visitors’ memory. Given the adult visitors are the primary visitors in art museums, the subjects of this study were adult visitors, and the African Art Workshop of Denver Art Museum as the study field. In order to provide more references to art museum education and the label study, this study surveyed the appropriateness of label reading for adult visitors, the difference in the need of label reading between visitors with different backgrounds and the museum memory of adult visitors by questionnaires and interviews After data collection and analysis, research finding showed that: 1. Adult visitors in the Denver Art Museum are mainly typical art museum visitors: frequent museum participants with higher-education, having relevant expertise and interest in art. 2. In all of the adult visitors’ background factors, the interest in art is the main factor which influences the need of label reading. 3. The exhibit label of art museums for adult visitors should include the words which visitors are familiar with. It should contain the artist’s creative process and quotations from the artist. Moreover, the label should indicate the significant characteristics of the artwork. 4. Exhibit labels can provide the information about the art, but also deepen the learning and memory about the art in the art museum. According to the research finding, this study suggests art museums in Taiwan could try to design different exhibit label contents with different level, edit more content about artists and their art making process, and use pictures and texts to explain and interpret the artwork. Keywords: Art museum education, exhibit labels, adult visitors, Denver Art Museum, museum memory

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Feng, Yung-Chih, i 酆詠之. "Family visitors'' text reading behavior in educational exhibitions of art museum - A case study of NTMoFA". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/86543761783140080398.

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碩士
國立臺灣大學
圖書資訊學研究所
104
This research focuses on the family visitors'' text reading requirements in art museum. It is a case study in “Follow the lines on a journey” exhibition of the National Taiwan museum of Fine Arts. The purposes of this research are: (1) to understand the family visitors’ motivations and requirements on visiting art museum. (2) to analysis family visitors’ reading and using text behavior. (3) according to the family visitors’ motivations, text reading behavior, satisfactions and the meaning of art museum education to generalize the principles of text designing in the art museum. The qualitative methodology with semi-structured interview, and observation was adopted to understand the 8 groups of family visitors’ attitude and ideas of text, and to record their behavior when visiting and reading text. The results of this study suggested that family visitors prefer the text, which was short, easy, connecting to their experiences and combining words and pictures. They have different expectations and requirements towards different types of exhibitions. Family visitors who read the text has better memories and higher satisfactions than those who didn''t. The Findings of the study suggests the design of exhibition label should corresponds to readability and visibility, and adopt multiple text levels.

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Émond, Anne-Marie. "The effects of viewing historical art and contemporary art on cognitive dissonance and consonance as verbalized by adult visitors in a fine arts museum". Thesis, 2002. http://spectrum.library.concordia.ca/1763/1/NQ73360.pdf.

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This study explored the impact of two very different art forms on the production of cognitive dissonance and consonance by museum visitors. It involved an investigation of the verbalizations expressed by adult participants in reaction to the moments of conflict and enjoyment that they experienced while viewing historical and contemporary art. The research methodology adopted for this study centred on the Thinking Aloud approach, which was used to collect visitor responses to artworks. The twelve subjects of this research were frequent art museum visitors, that is, people who visited museums at least twice a year. Their comments were tape-recorded as they walked through specified galleries. They were accompanied by the researcher, who acted as an observer. The transcripts of their verbalizations constituted the raw data used in the analysis. Weltzl-Fairchild's typologies of cognitive dissonance and consonance were the instruments used to analyse the verbalized musings of the subjects. Once their discourse was categorized into dissonant and consonant moments, it was further scrutinized in order to identify visitors' specific meaning. This analysis revealed that the visitors produced more consonance than dissonance in response to both historical art and contemporary art. These findings indicate that the art form has an impact on the production of cognitive dissonance and consonance. They suggest, for instance, that visitors to the historical galleries, unlike visitors to the contemporary galleries, expect to use the criterion of realism to judge an artwork. Visitor responses to historical art were mostly associated with the notion of Beauty; in the case of contemporary art, however, they had to do with the concept of communication. Another noticeable difference between both art forms was linked to museum organization. Since visitor responses to historical art focussed on the historical context in which the works were created, visitors expected to see this reflected in the museum context. As for visitors to the contemporary art galleries, their attention was drawn to the actual context of the museum itself. This study suggests how art museum educators can empower visitors as they accompany them on their museum journey, and how the resulting overall museum experience can be a more positive one, whether that journey is characterized by moments of conflict or harmony.

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Yang, Ya-Ju, i 楊雅如. "The Roles and Functions of Worksheets in Art Museum:An Action Research of Designing Worksheets for Family Visitors in the Museum of Contemporary Art, Taipei". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/u5rx2q.

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碩士
國立臺北藝術大學
博物館研究所碩士班
104
The diverse educational programs targeted for audience of different ages are very important for art museum education. Among them, the worksheet plays the role as museum educator. How does the art museum design educational worksheets to assist family visitors to learn contemporary art? What are the features of worksheets designed for family visitors? Theories of Multiple Intelligences and Five Windows proposed by Howard Gardner will be discussed in this study, and the methods of action research and content analysis are applied to analyze worksheets of the Museum of Contemporary Art Taipei (MOCA, Taipei). Applying theories of contemporary art education, the researcher designed the worksheet of “In the Name of Art – Hong Kong” exhibition for family visitors. Analysis shows that the features of worksheets of MOCA focus on observation and creation skill connecting with contemporary art and life experiences with emphasis on narration, numerical and experiential windows. From the observation and interview with family visitors, the research results are as follows: 1. Interactive worksheets are most popular. 2. Learning map leads the spatial intelligence and children’s memories. 3. Parents influence how frequent the worksheets are used. 4. Family visitors are much more impressed with those exhibits applying musical intelligence and 5. Family visitors prefer user-friendly worksheets. Several principles of designing the contemporary art worksheet for family visitors are suggested as follows: 1. Worksheets with games attract children. 2. Worksheets should be children friendly. 3. Worksheets with illustrations are popular. 4. The worksheet is not a replacement of guidebook. The study also suggests that parents should read and learn the exhibition information before their visit as well as rent audio guide and learning box for children. If the parents enjoy the visit and share their experiences with children, visiting contemporary art museums will be wonderful experiences for children.

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Riley, Caroline M. ""Ambassador of Good Will" The Museum of Modern Art's "Three Centuries of American Art" in 1930s Europe and the United States". Thesis, 2016. https://hdl.handle.net/2144/17711.

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This dissertation examines the powerful role that museums played in constructing national art-historical narratives during the 1930s. By concentrating on Three Centuries of American Art—the 1938 exhibition organized by the Museum of Modern Art (MoMA) for viewing in Paris—I argue that the intertwining of art, political diplomacy, and canon formation uncovered by an analysis of the exhibition reveals American art’s unique role in supporting shared 1930s cultural ideologies. MoMA’s curators created the most comprehensive exhibition to date of the history of American art with works from 1590 through 1938, and with over five hundred architectural models, drawings, films, paintings, photographs, prints, sculptures, and vernacular artworks. With World War II on the horizon, these artworks took on new meaning as the embodiment of the United States. Adding complexity to notions of display, five chapters trace in chronological order how curators, politicians, journalists and art critics reimagined American art in the display, canonization, and reception of Three Centuries of American Art. Chapter 1 gives a synopsis of the exhibition, places it within the larger discourse of American art exhibitions in Paris, and documents how American and French relations developed during this pivotal time. Chapter 2 explores the different meanings ascribed to the artworks during loan negotiations and maps the works’ transportation to Paris. Chapter 3 elaborates on the notion of a unified American art in the 1930s by examining the histories of art created by each of MoMA’s departments. Chapter 4 offers the first substantive historiography of 1930s publications that examined American art across media to determine instances when MoMA curators echoed prior histories and when they deviated from them at a moment when scholars disputed the merit of such disciplinary histories. Chapter 5 grapples with the means by which audiences first learned about Three Centuries of American Art and unearths what American and international critics wrote about the exhibition. In sum, Three Centuries of American Art provides a model to understand how MoMA curators inserted their histories of American art into the emerging art historical discourse and how government agencies invested them with political meaning during the critical interwar period.
2018-08-11T00:00:00Z

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Chen, Hsiao-Jan, i 陳曉然. "A Case Study on the Youth Visitors’ Learning Experiences of the Display-Related Workshops at the Taipei Museum of Contemporary Art". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/t9ktbd.

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碩士
國立臺北藝術大學
藝術與人文教育研究所碩士班
99
Abstract Located in Taipei, the Museum of Contemporary Art can always bring new issues and forms by its exhibition. Visitors are mostly young audience; in recent years, it has organized a lot of art education programs, attempting to help people understand the meaning and contemporary art issues by the diversity of educational activities. Among the activities, the weekend workshop which is interesting and inspiring is based on elements and issues of current exhibition. The museum staff or workshop teacher will lead participants to explore the exhibition and creation through workshops; its appeal is to make the connection between the exhibition and creative activities; the design of the weekend workshop is bound to show links with the theme of the exhibition of contemporary art, which is often abstract and controversial. Therefore, how to design the weekend workshop in relation to the museum''s exhibition themes, and what are participants’ motivation and experiences are the research questions. Therefore, this study adopted qualitative observation and interview along with quantitative survey as research method; research subjects are 18 to 35 year-old young audience. Through four times of weekend workshop case study, there were 30 questionnaires considered valid. After interview with eight young participants and museum staff and teachers of each workshop, analysis on young participants’ learning experiences of the weekend workshop are as follow: 1. The teachers adopted low-pressure teaching method to encourage participants to create their works. 2. The joy of creation is what satisfied young participants most. 3. The relevance of content between weekend workshop and exhibition in the Museum of Contemporary Art is low. According to the conclusion mentioned above, there are some suggestions in organizing exhibition-related educational activity in art museum: 1. Teachers and museum staff should work on planning the content of weekend workshop together. 2. There can be more multiple ways to present weekend workshop in relation to the exhibition. 3. The location of workshop classroom can be in adjacent to the exhibition and decorated in relation to current exhibition. 4. More promotion and marketing are needed for weekend workshop.

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Hung, Chung-Chien, i 洪仲謙. "Applying IPA to Explore Visitors’ Feelings Over Exhibition – Taking 2015 Asian Art Biennial Held in National Taiwan Museum as an Example". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ke8w6c.

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碩士
朝陽科技大學
企業管理系
104
Owing to the growing popularity of new museology movement, focusing on “Human-centered,” using to be “Heritage-centered,” dominates the thoughts on museums. Consequently, it does become the core work in museums. Recently, the museums around Taiwan like bamboo shooting after a spring rain have constantly grown their prosperity. Thus, everyone has gradually considered that the main purposes of museums existing around us are not just only for preserving some ancient items stemming from the past, but also for positively constructing the appropriate environment for exhibiting. Moreover, those museums are also regarded as the places where are able to preserve the memories of the past as well as create those of now and future. Therefore, seen from those points of view, those museums with entrepreneurial operating system along with their systematic promotion have become a global trend. In the study, a quantitative technique will be utilized to conduct the survey. Furthermore, for the sake of investigating the visitors’ feelings over the exhibition, the analyzing tool, Importance-performance analysis (IPA), will be utilized. According to the result shown, six items falling in to the fourth quadrant, Concentrate Here, are priority to be improved. Finally, the study will offer the relevant authorities some proper suggestions in order to improve visitors’ feelings over exhibitions as well as better the museums’ service qualities.

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Reis, Catarina Alexandra Gonçalves dos. "Digital technology as mediation in European fine art museums". Master's thesis, 2019. http://hdl.handle.net/10400.14/32928.

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In order to fully understand museums in their current state and the changes that are undergoing, it is crucial to observe their evolution through history. First museums appeared many years ago and nowadays these institutions are present all around the world in different typologies. Museums have been founded to promote civic pride, identity and feelings of belonging, as recreational facilities, educational resources, means to improve quality of life, and to attract tourism. Nowadays, museums are facing some challenges, and the overall trend is to democratize the access. From two decades until now, a change is undergoing, due to social changes that made museums re-evaluate their relationship with the audience. Today, the visitors are seen as individuals, instead of socio-demographic groups. In the last years, museum mediation has been evolving because of the digital technologies. Digital technology was invented in the 20th century, marking what was named as the third technological revolution (Greenwood, 1997). Chappuis et als (2011) report that “Consumer behaviour is shifting rapidly as more people use digital devices and platforms intensively.” (Chappuis, Gaffey and Parvizi, 2011). New technologies started to be seen as solutions to reach visitors in an effective way, independently of their backgrounds. In terms of digital technology as mediation in European fine art museums, the most common are smartphone apps and multimedia guides, but there are also projects using gamming, storytelling, artificial intelligence, augmented/virtual reality and 3D reproductions (Examples of these technologies range from smartphone apps and multimedia guides, to projects using gamming, storytelling, artificial intelligence, augmented/virtual reality and 3D reproductions). To understand the trends, we identified, characterize and studied projects in European Fine Art museums. This information was analysed and allowed to portray the present panorama in European fine art museums towards their visitors through digital means. New policies, strategies and missions are being re-thought. Questions such as how museums must be responsive to the audience needs, open to share knowledge, to create new collaborations and to have an interdisciplinary character, so the cultural experience can be global and diversified are now being discussed. The present work raises questions for the future of museums.

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Cheng, Ya-Ping, i 鄭亞萍. "Interaction between Visitors and Panel Text: A Case Study of Alphonse Mucha – Art Nouveau & Utopia at the Kaohsiung Museum of Fine Arts". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/82aj7d.

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碩士
國立臺南藝術大學
博物館學與古物維護研究所
101
Audio-guide, brochures, panels and labels are commonly employed within the field of art exhibitions to provide visitors with better understanding and therefore able to interpret or explain the content. These are generally known as the “museum text”, and have been fundamental tools in museum exhibitions. The focus of this research is on the text on panels, which is one of the earliest guiding information for visitors when they entering the museum exhibitions, leading visitors to artworks and the concept of the exhibition. By reviewing the literature, it is obvious that audience has their own awareness, and is self-determined, which corresponds with the feature of museum education, such as liberation and self-learning. Meanwhile, visitors choose their perception of information, including text and images to help himself or herself to read, understand, and interpret the artworks. Consequently, the guidance provided by the panel text has to be really helpful otherwise it will be filtered out by the ‘self-determination’ of the visitors. When investigating the interaction between the visitors and art exhibitions, it is essential to review and define the meaning of the existence of the panel text. There could be several levels related to the meaning of the panel text, including “educational feature of art exhibitions”, “aesthetic experience of visitors”, “panel text as part of the curation”, and by listing how these function with the inner information perception and knowledge gaining of audience, as the user, the research tries to explore the value of the panel text and the ideal way of using it to guide. The Alphonse Mucha – Art Nouveau & Utopia Exhibition at the Kaohsiung Museum of Fine Arts was a typical art exhibition which employed panel text as a guidance for visitors. This research explores the interactivity of visitors’ viewing and reading the panel text through natural observations and in-depth interviews on site. It also aims to understand the reaction of visitors between before, during, and after viewing the panel text, via a cross comparison of collected data. It is important to find out the real situation of the visit, and hopes to unveil the process of how visitors interacts with panel text. From studying the process of interaction between visitors and panel text, to discovering the introductory benefit of the panel text, it is significant to take visitors into account: how their self-determination function, how they perceive information, and how panel text include knowledge and stimulation to continuity and expectation for further artworks and text. Lastly, it points out that panel text within an art exhibition is not just assisting, but more of connecting. It not only provides visitors a path to view artworks, which is connecting the content of the artwork with visitors; furthermore, it embeds the context into visitor’s knowledge system and transforms the content of artwork into new applicable information. It helps visitors to communicate with artworks, and encourages more interactivity, and demonstrates information perception in order to develop more aesthetic experiences. The interactivity and guidance of the panel text is indeed a profound and everlasting issue for art museum professionals to rethink.

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Harris, Ashley D. "Everyone has a story to tell : exploring the associations and connections made by visitors at a zoo, art gallery and two museums". Thesis, 2010. http://handle.uws.edu.au:8081/1959.7/496421.

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Interpretation is commonly associated with communicating and revealing to visitors the natural, cultural and heritage significance of a landscape. Many definitions of interpretation imply that visitors will learn something as a result of the site's interpretation. This thesis challenges this assumption and argues that visitors' learning at sites is far more complex and unpredictable than indicated by the interpretation definitions. Although this thesis is concerned with the role of interpretation and visitor research at a variety of heritage, natural and cultural sites, museums have been at the forefront of the literature and research regarding education and learning and therefore much of the literature cited is from a museum context. Communication in museums is no longer seen as a one-way transmission from sender to receiver, curator to visitor. Yet a significant proportion of visitor research still operates within a behavioural psychology paradigm that concentrates on learning outcomes of a museum visit. This research fails to capture the complexity of visitor learning at the point of interaction. Learning is a process as much as it is a product and in the museum context it is important to understand the how of visitors learning by investigating the meaning-making and interpretive strategies of the visitor. Drawing on past experiences and prior knowledge is now commonly accepted as crucial to visitor learning in the museum environment. However, very little learning related research in the museum has concentrated solely on the role of prior knowledge in the meaning-making process. This thesis attempts to correct this imbalance and as others have done in the museum world, literary theory is used to analyse and explain the interpretive strategies of the visitor. Through research carried out at four separate institutions the thesis tackles the learning process as it appears in visitor's conversations. The data illustrates that making connections and associations to prior knowledge and prior experiences appears to be a common meaning-making strategy regardless of the type of site. Being able to communicate these personal connections to the social group one is visiting with is a significant component of the meaning-making process. This thesis argues for a panoptic view of learning that includes personal associations, memories and social interactions, in addition to the information related outcomes so frequently associated with the museum visit. The thesis positions the visitor experience as an intertextual construct. Learning ensues from the museum interpretation in conjunction with a myriad of external knowledge and experiences that are introduced through the visitor's personal stories and conversations. These contingent aspects cannot be accurately captured by research that focuses on the learning outcomes post-visit. The thesis concludes with an analysis of the practical implications of prior knowledge and more specifically a description of the A Day in the life of Pompeii exhibition mounted by the Melbourne Museum.

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Chen, Chu-hsuan, i 陳築萱. "A Study of the Relationship between Interaction Model and Aesthetic Experience of Parent-Child Visitors in Art Museum- Taking Two Permanent Collection Exhibitions of the TFAM For Example". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/93343324224991654359.

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碩士
國立新竹教育大學
美勞教育研究所
95
The development and change of the present artistic education, besides the attention to the social culture phenomenon, emphasize on combining experiences of life and artistic activities, enabling the daily life to be artistic. The main goal of Art Museum lays in improving the whole people's aesthetic sensibility, especially the promoting of parent-child's education which takes a deep understanding of the characteristics of the parent-child audience in Art Museum visiting. This research sets out from the common art-visit experience, probing into the various activities, the interaction and aesthetic experience of the parent-child audience of the Art Museum visits. This research adopts qualitative research methods, including observation, interviews and content analysis, and chooses the parent-child audience as research object of visit highlights from the permanent collection exhibition of Taipei Fine Art Museum reservations during 2006 and 2007. First, the author keeps the observation tracking record forms of the interaction behaviors of parent-child audiences in Art Museum to analyze visit time, amount of exhibitions, routes, the interaction types, contents, leading role and the frequency of assemble and dispersion among the visit members. Secondly, the thesis with the interview survey of parent-child audiences in Art Museum analyzes their aesthetic experiences. The interview item contains four dimensions, including aesthetic perception, imagination, understanding and emotion. Finally, the author tries to mark out the significance of art-visit interactions and the detailed process of aesthetic experience. Major conclusions of this research are as follows: 1. Despite the visit frequency, the main motive of parent-child audiences is acquiring knowledge, but their precious gain is the promoted relationship of interaction in Art Museum. 2. The tour routes of parent-child audiences are affected by the habit of right-tilt, fatigued and exits expectation. 3. Passing through the rest area, the parent-child audiences have irregular tour routes, including the 'straight-line type', having a look around hurriedly; 'the twisty type', visit freely, and the 'return type', going back and forth. 4. The interaction models of parent-child contain the two-way communication, 'sharing' and 'question-answer’, and the one-way communication, 'introduction' and 'description' . 5. The parents often play the role of starting dialogues and leading tour routes, especially the mother. As for the children, sons often leads the visit routes and daughters triggers discussions. 6. The behaviors of assemble and dispersion of parent-child audiences, can be divided into three types which are 'assembling', 'dispersion' and ' axle center'. 7. In Art Museum the parent-child aesthetic experiences commonly contains four dimensions as aesthetic intuition, imaginative interpretation, reflective apprehension and emotional empathy. 8. The aesthetic experiences of parent-child audiences are influenced by the interaction model, dialogue frequency, behavior of assemble and dispersion. According to the result of this study, the author would propose some advices for the art museums, parents, art educators, and further researches, hoping they can be helpful to art education and learning.

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Simplício, Susana. "Públicos do Museu Nacional de Arte Contemporânea: Museu do Chiado". Master's thesis, 2010. http://hdl.handle.net/10071/2330.

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É intuito deste estudo contribuir para o conhecimento dos públicos dos museus em Portugal, mais concretamente dos museus de arte contemporânea, quanto aos perfis, práticas e hábitos culturais, visitas e relação com os museus, tal como a comparação do perfil dos públicos de museus de arte contemporânea com as características dos públicos dos museus em geral, dando como ilustrativo o caso do Museu Nacional de Arte Contemporânea – Museu do Chiado. O conhecimento dos perfis dos visitantes dos museus é uma importante ferramenta para tomada de decisões neste sector, por parte dos seus responsáveis, possibilitando o melhoramento da oferta de forma adaptada e, por conseguinte, um melhor funcionamento, comunicação e orientação para os mesmos.
It is aim of this study to contribute to the knowledge of museum visitors in Portugal, more concretely of the contemporary art museums, as for the profiles, practices and cultural habits, visits and relation with the museums, such as the comparison of the visitors profile of contemporary art museums with the characteristics of general museums visitors, giving as illustrative the case of Museu Nacional de Arte Contemporânea – Museu do Chiado. The knowledge of the profiles of museum visitors is an important tool for decision making in this sector, by the persons in charge, enabling the improvement of the offer in adapted way and, therefore, a better functioning, communication and orientation for them.

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Pereira, Teresa Homem de Melo de Moura. "Regimes de gratuitidade em museus nacionais: impactos nos públicos seniores". Master's thesis, 2016. http://hdl.handle.net/10071/12579.

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Esta dissertação, inserida no contexto do Mestrado em Gestão e Estudos da Cultura, foca-se nos públicos seniores do Museu Nacional de Arte Antiga, em concreto na sua relação com condições de acesso. A metodologia adotada sobretudo qualitativa (observação, entrevistas) permitiu a identificação de posicionamentos tanto do lado dos públicos como do lado da instituição que podem (ou não) contribuir para o cumprimento ou a adesão a condições de acesso consideradas vantajosas. Será que mobilizam o visitante? Os impactos identificados foram vários, inerentes a uma investigação qualitativa que pretende precisamente detetar particularidades, no entanto, conseguem identificar-se tendências nas relações estabelecidas sobretudo com o museu em causa e com as condições de acesso.
This dissertation, written in the context of the Masters Degree in Arts studies, focuses on the National Museum of Ancient Art’s senior visitors, more specifically on its relation to the conditions of access to the institution. The used methodology, mostly qualitative (direct observation and interviews) allowed the identification of the positioning of the public, but also of the institution itself, which can (or not) contribute to the observance or adherence to the conditions that supposedly are an advantage. Will it mobilize the visitors? The identified impacts were several, inherent to a qualitative investigation that pretends to detect particularities, however, it’s possible to identify tendencies in the established relations, mainly with the museum itself and its conditions of access. Keywords: Senior Visitors, National Museums, Admission Charges, Free Entry, National Museum of Ancient Art

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Ward, Lucina. "A translation of a translation: Dissemination of the Arundel Society’s chromolithographs". Phd thesis, 2016. http://hdl.handle.net/1885/101935.

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The thesis casts new light on the activities of the London-based Arundel Society (1848–1897). It examines the watercolours and chromolithographs produced for the Society made after pre-Renaissance frescoes and Northern altarpieces, the discourse around them, and the ways the prints were collected by organisations and individual subscribers. The Society’s commercial and ideological strategies, its didactic and archival programs, as well as the multi-faceted nature of its authorship are analysed. Using the notion of translation, this thesis explores how mediation affects the reception and meaning of a work of art. The Arundel Society, or Society for Promoting the Knowledge of Art, was one of the first entities to issue high-quality colour reproductions of works of art. Through an investigation of the impact of these colour images on art writing, and the ways in which they helped give visual form to ideas about art, this thesis proposes new value for the Society’s publications. The prints, sculptural casts and texts issued over fifty years were an important contribution to art history in a period when the discipline was developing; they were distributed around the world, bringing popular awareness to the art of earlier times. By examining subscriber lists and exploring the connections between the Society’s members, this thesis demonstrates the ubiquity of the chromolithographs. By considering the prints in a range of domestic and religious spheres, within museums and other institutional contexts, the thesis challenges the idea that reproductive prints are by nature unilateral and poses further complexities about the original, its image and the viewer—it asks questions about what happens if works of art look back. This thesis is the first to examine the Arundel Society’s contribution to a nascent art history and only the second, since Tanya Ledger’s more than forty years ago, to assess its activities in depth. Initially the Society aimed to record and spread knowledge of important monuments. Later it placed greater emphasis on recording works of art to which general access was difficult, and those threatened by decay or destruction; the function of the watercolours and prints as a ‘condition report’ was recognised at the time. In 1860s and 1870s, at the height of the Society’s popularity, the chromolithographs were also used as home furnishings, while in various churches they remain as items for devotion. By surveying extant holdings, this thesis assesses the role of the Society’s publications in the development of museum collections in Britain, the colonies and further afield, and reconsiders the possibilities for these works in the twenty-first century.

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