Gotowe bibliografie tematyczne / New Bedford Art Museum

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Gotowa bibliografia na temat „New Bedford Art Museum”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "New Bedford Art Museum"

COOPER, BARRY J., i JAMES B. JAGO. "ROBERT BEDFORD (1874–1951), THE KYANCUTTA MUSEUM, AND A UNIQUE CONTRIBUTION TO INTERNATIONAL GEOLOGY". Earth Sciences History 37, nr 2 (1.01.2018): 416–43. http://dx.doi.org/10.17704/1944-6178-37.2.416.

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Robert Bedford (1874–1951), based in the isolated community of Kyancutta in South Australia, was a unique contributor to world geology, specifically in the field of meteorites and fossil archaeocyatha. Born Robert Arthur Buddicom in Shropshire, UK, he was an Oxford graduate who worked as a scientist in Freiberg, Naples, Birmingham and Shrewsbury as well as with the Natural History Museum, Kensington and the Plymouth Museum in the United Kingdom. He was a Fellow of the Geological Society of London, 1899–1910. In 1915, Buddicom changed his surname to Bedford and relocated to South Australia. During the 1920s, Bedford expanded his geological interests with the establishment of a public museum in Kyancutta in 1929. This included material previously collected and stored in the United Kingdom before being sent to Australia. Bedford was very successful in collecting material from the distant Henbury meteorite craters in Australia's Northern Territory, during three separate trips in 1931–1933. He became an authority on meteorites with much Henbury material being sent to the British Museum in London. However, Bedford's work on, and collecting of, meteorites resulted in a serious rift with the South Australian scientific establishment. Bedford is best known amongst geologists for his five taxonomic papers on the superbly preserved lower Cambrian archaeocyath fossils from the Ajax Mine near Beltana in South Australia's Flinders Ranges with field work commencing in about 1932 and extending until World War II. This research, describing thirty new genera and ninety-nine new species, was published in the Memoirs of the Kyancutta Museum, a journal that Bedford personally established and financed in 1934. These papers are regularly referenced today in international research dealing with archaeocyaths.

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Moniz, George A., i Gerald B. Hammond. "Identification of Ambergris from the New Bedford Whaling Museum by Nuclear Magnetic Resonance Spectroscopy". Journal of AOAC INTERNATIONAL 79, nr 2 (1.03.1996): 423–25. http://dx.doi.org/10.1093/jaoac/79.2.423.

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Abstract A new method for the separation and identification of ambrein in ambergris using adsorption chromatography and 1H and 13C Fourier transform nuclear magnetic resonance spectroscopy (FT-NMR) is presented. We demonstrated the effectiveness of this method by analyzing an approximately 85-year-old sample of suspected ambergris from the New Bedford Whaling Museum (New Bedford, MA). Results prove that ambrein remains a major constituent of ambergris even after 85 years of storage under ordinary conditions.

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Imajo, Motoi. "New lighting for museum and museum of art". JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 74, Appendix (1990): 177. http://dx.doi.org/10.2150/jieij1980.74.appendix_177.

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Valim, Michel P., Francine M. Lambrecht i Élvia E. S. Vianna. "New records of chewing lice (Insecta, Phthiraptera) from birds of southern Brazil, with description of a new species". Iheringia. Série Zoologia 99, nr 3 (wrzesień 2009): 249–58. http://dx.doi.org/10.1590/s0073-47212009000300004.

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A collection of chewing lice was studied from the Natural History Museum of the Universidade Católica de Pelotas, Rio Grande do Sul, Brazil. Twenty three samples from 16 bird species were examined. Included therein was a new species of the genus Plegadiphilus Bedford, 1939 which is described, illustrated and compared to P. cayennensis Emerson & Price, 1969. An updated list of chewing lice species recorded from birds of that state is presented.

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Yuliasari, Yuliasari, i Yeptadian Sari. "Penerapan Konsep Arsitektur Kontemporer pada Art 1 : New Museum and Art Space". Journal of Architectural Design and Development 1, nr 1 (30.06.2020): 37. http://dx.doi.org/10.37253/jad.v1i1.718.

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Museum merupakan bangunan yang diperuntukkan sebagai tempat untuk pameran benda-benda karya seni yang memiliki nilai sejarah, seni dan ilmu. Namun pada kenyataannya, museum tidak lagi dianggap tempat penting karena kondisi beberapa museum di Indonesia kurang diperhatikan. Sehingga tingkat kunjungan masyarakat ke museum semakin menurun. Berdasarkan latar belakang tersebut maka perlu penerapan arsitektur kontemporer agar tempat yang tadinya dianggap demikian menjadi tempat yang menarik untuk dikunjungi masyarakat tanpa mengenal umur dan kalangan. Penelitian ini bertujuan untuk memahami penerapan prinsip-prinsip konsep arsitektur kontemporer pada bangunan museum dan penerapannya jika mengacu pada prinsip ruang yang terkesan terbuka. Metode dalam penelitian ini menggunakan prinsip konsep arsitektur kontemporer menurut Ogin Schirmbeck. Penerapan arsitektur kontemporer pada bangunan museum menghasilkan desain bangunan yang tidak biasa dan berbeda dari museum-museum pada umumnya.

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Sauer‐raussmüller, Christel. "A new art museum at Schaffhausen". Museum International 39, nr 2 (czerwiec 1987): 68–73. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00670.x.

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Lowe, Nicholas. "Review: The Art of Museum Exhibitions: How Story and Imagination Create Aesthetic Experiences by Leslie Bedford". Public Historian 38, nr 3 (1.08.2016): 195–96. http://dx.doi.org/10.1525/tph.2016.38.3.195.

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Merkel, Jayne. "SANAA's New Museum of Contemporary Art, New York". Architectural Design 78, nr 3 (2008): 98–101. http://dx.doi.org/10.1002/ad.684.

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Fillis, Ian, Kim Lehman i Morgan P. Miles. "The museum of old and new art". Journal of Vacation Marketing 23, nr 1 (1.08.2016): 85–96. http://dx.doi.org/10.1177/1356766716634153.

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Entrepreneurial marketing is used to understand new venture creation in the vacation tourism sector through a case study of private art museum in Tasmania that has become a tourist destination of major international significance. The Museum of Old and New Art (MONA) has emerged as a major driver of tourism in the region. Interrogation of the arts and cultural tourism literature sets up a key research proposition – in arts and cultural tourism, the unique artistic tastes of the entrepreneur often trump customer needs and preferences by shaping the visitor’s experience through creative artistic innovation. The findings support our proposition, with additional grounding through the impact of the owner/manager and associated entrepreneurial marketing and effectuation impacts.

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Hughston, Milan R. "Documenting the art of our time: a new research facility for The Museum of Modern Art, New York". Art Libraries Journal 32, nr 4 (2007): 22–28. http://dx.doi.org/10.1017/s0307472200015054.

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The Museum of Modern Art’s ten-year building project provided new, purpose-built spaces for the library and museum archives, one of the world’s premier research resources documenting modern and contemporary art. This article summarizes the planning and implementation of the new space and reflects on its successes after six months of operations.

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Rozprawy doktorskie na temat "New Bedford Art Museum"

Truxillo, Katherine. "The New Orleans Museum of Art". ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/110.

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The New Orleans Museum of Art is New Orleans' oldest art institute and is the premier art institute of the Gulf South. From September through December 2009, I served as an intern in the Development Department at NOMA and then went on to fill the role of Interim Grants Officer from December through the time this document was written. I also have covered for the Special Events Coordinator during her leave of absence beginning January 4, 2010 through the present. NOMA has strengths and weakness internally, and opportunities and threats to functioning exist as well. Through a thorough examination of this institution, a consultantcy's report was compiled based on examination of NOMA and the best practices of comparable institutions and museum management standards.

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Ng, Victor, i 伍達文. "Art ropolis: redefining the museum of (new) art, TST". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986717.

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

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

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

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Pleva, Leigh P. "The New Orleans Museum of Art: An Internship Report". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/121.

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From January through April 2011, I served as an intern at the New Orleans Museum of Art. The New Orleans Museum of Art, which celebrates its 100-year anniversary this year, ranks in the top 100 art museums nationally. I worked in the Marketing Department, focusing on programming and museum communications. The following report includes a profile of the organization, a description of my position as an intern within the Marketing Department, my analysis of internal and external administrative issues, and my recommendations and contributions to the organization based on best practices and relevant museum standards.

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Solomon, Elise Lianne King. "An internship report: the New Orleans Museum of Art". ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/aa_rpts/107.

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Experience obtained from an internship at the New Orleans Museum of Art leads to a discussion of the Museum's strengths, weaknesses, opportunities, and threats. Strengths identified are the Museum's location, temporary exhibitions, expansive collection, recognition of New Orleans cultural heritage and diversity, ability to attract different audience segments, and educational outreach to schools. Weaknesses include the Museum's resistance to change, neglect of technology, poor internal and external communication, lack of coherent and shared purpose, and adequate space for programming. Opportunities ascertained are the potential for expansion in technological updates and public programming, and the leadership of a new Director. Threats recognized are the inattention to technological advances, competition with other cultural sites, and the economic recession. This analysis produces specific recommendations for improvement in the Museum's management practices, public programming, and technological insufficiencies.

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Ford, Rachel Kaufman. "Collections Management at the New Orleans Museum of Art". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/aa_rpts/127.

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This internship report is the result of my time working with the registration and collections departments at the New Orleans Museum of Art. My work consisted of receiving, inventorying and moving objects in the collection, answering inquiries related to the collection, assisting with installations and breakdowns of exhibitions, and projects related to the collection files. Working from this vantage point, and with numerous other arts community working experience under my belt, I have compiled in this paper a discussion of the museum itself, the internship and my contributions to the organization, and an analysis of the organization and its overall contribution to the community as the largest arts organization in the city of New Orleans. This is my attempt to explain where NOMA is and where NOMA is going.

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Baker, Laura. "The New Orleans Museum of Art: Managing the Collection". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/173.

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An internship experience in the Office of the Registrar and Collections Management at the New Orleans Museum of Art is reviewed alongside discussion of the Museum’s history, structure, and permanent collection, in addition to analyses of the organization’s finances and its institutional strengths, weaknesses, opportunities and threats. Discussion topics also include the intern’s experience, best practices in similar institutions, and a conclusion with recommendations made by the intern.

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Hendrick, Catharina Carmel. "The Agile Museum : organisational change through collecting 'new media art'". Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/36093.

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This thesis investigates how collecting new media art affects the museum institutionally. The aim and purpose of this research was to understand how the process of collecting new media art within two regional case study museums (one in the UK and one in the Netherlands) is changing how they operate and function. The two regional museums in this research, I suggest, are innovative and adaptable organisations with agile organisation, agile curation and an agile organisational culture and leadership. Best practice is fostered, experimentation is cultivated and staff work in a collaborative and flexible manner so that new media art can be acquired. The theoretical approach, the Congruence Model of Organizational Behavior, considers how organisations are best aligned in terms of four major components: people, formal structure, informal culture and critical tasks/workflow. The research evaluated the congruence between the four major components and signals the subtle, but important ways in which new media art has reshaped them. A case study qualitative approach was used; interviews were carried out with participants and thematic analysis was employed to analyse the data. Three broad themes emerged from the research. First, new ways of organising – agile teams with a project-based ethos were apparent. Second, collaboration inside and outside the organisation – working across units and disciplines inside the museum and building networks outside the museum which promotes knowledge exchange, learning and collaborative practice were evident. Finally, staff agency and leadership – the organisational culture facilitates autonomy for staff where informed risk-taking and proactivity flourish. This research extends our knowledge of the reciprocal relationship between new media art and how the two museums operate and function. This study has gone some way towards enhancing our understanding of how new media art impacts, in nuanced ways, the museum’s structure and culture, and skills and expertise.

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Gilbert, Christine M. "The Ogden Museum of Southern Art University of New Orleans development internship". ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/24.

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This detailed report of a development internship at The Ogden Museum of Southern Art, University of New Orleans, includes an organization profile, a description of the activities performed during the internship, an analysis of an organizational management challenge, a proposed resolution to the management challenge, and a discussion of the short and long range effects of the internship. The roles and responsibilities of a board of directors, and the qualities sought in board members, are important aspects of the analysis and resolution of the management challenge.

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Książki na temat "New Bedford Art Museum"

Exhibition, American Society of Marine Artists National. Contemporary American marine art: 30th anniversary exhibition, the American Society of Marine Artists in assocation with Chase Center on the Riverfront, Chespeake Bay Maritime Museum, The Noyes Museum of Art, Spartanburg Art Museum, New Bedford Art Museum, 2008-2009. Ambler, Pa: American Society of Marine Artists, 2008.

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North American Print Conference (8th 1977 Whaling Museum). American maritime prints: The proceedings of the eighth annual North American Print Conference held at the Whaling Museum, New Bedford, Massachusetts, May 6-7, 1977. [New Bedford, Mass.] (18 Johnny Cake Hill, New Bedford 02740): Published at the Whaling Museum by the Old Dartmouth Historical Society, 1985.

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editor, Phatarphekar Pramila, i National Culture Fund (India), red. Treasures: National Museum New Delhi. New Delhi: National Culture Fund, 2015.

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Bettina, Funcke, i Gagosian Gallery, red. Richard Phillips: New museum. New York, NY: Gagosian Gallery, 2009.

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Lowry, Glenn D. The new Museum of Modern Art. New York, NY: Museum of Modern Art, 2006.

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Terence, Riley, i Museum of Modern Art (New York, N.Y.). Dept. of Publications., red. The new Museum of Modern Art. New York: Dept. of Publications, Museum of Modern Art, 2005.

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Danziger, Danny. Museum. New York: Penguin Group USA, Inc., 2008.

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Brettell, Richard R. Museum masterpieces: The Metropolitan Museum of Art. Chantilly, VA: The Teaching Company, 2008.

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compiler, Roy Joyoti editor, red. Guide-book: National Museum, New Delhi. Wyd. 5. New Delhi: National Museum, 2014.

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Plessi, Fabrizio. Fabrizio Plessi, Guggenheim Museum SoHo, New York. [Mainz: Chorus, 1998.

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Części książek na temat "New Bedford Art Museum"

Abt, Jeffrey. "New Starts, Then Detroit’s Bankruptcy". W Valuing Detroit’s Art Museum, 151–91. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45219-7_5.

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Hanks, Laura Hourston. "China Academy of Art's Folk Art Museum, Hangzhou, China". W New Museum Design, 55–68. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2021. http://dx.doi.org/10.4324/9780429435591-3.

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Hanks, Laura Hourston. "The Ashmolean Museum of Art and Archaeology, Oxford, United Kingdom". W New Museum Design, 179–96. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2021. http://dx.doi.org/10.4324/9780429435591-10.

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Abt, Jeffrey. "Failed Plans, Fresh Crises, a New Relationship". W Valuing Detroit’s Art Museum, 121–49. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-45219-7_4.

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Borea, Giuliana. "Reinforcement of the museum". W Configuring the New Lima Art Scene, 93–111. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2021. http://dx.doi.org/10.4324/9781003085003-8.

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Schubbach, Arno. "AI and Art". W Edition Museum, 41–56. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-005.

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Recent advances in the computer generation of pictures using methods and programs from artificial intelligence research, or, more precisely, machine learning, have once again raised the question of whether computers can make art. Based on Michael Noll's early experiments with computer art from the 1960s, I argue by contrast that even the latest tools cannot make do without human work and can only be part of an artistic practice thanks to this work. Rather than asking whether machines can make art, we should therefore develop creative practices in which it is possible to leverage the potential of new techniques for design and art.

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Sabbaghi, Vida. "Collaborating Organizations Help Interns Light Up the Panorama of the City of New York". W Museum-based Art Therapy, 92–104. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003014386-6.

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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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McClusky, Pamela. "The Unconscious Museum: Collecting Contemporary African Art without Knowing It". W Collecting the New, redaktor Bruce Altshuler, 115–30. Princeton: Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400849352.115.

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Mavini, Christina. "Engaging New Museum Audience Through Art Workshops: The Case of “Adult Art” at Macedonian Museum of Contemporary Art". W Strategic Innovative Marketing and Tourism, 327–35. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12453-3_37.

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Streszczenia konferencji na temat "New Bedford Art Museum"

Stella, Stella, Eddy Supriyatna Marizar i Maria Florencia. "Interactive Design Concept on Art: 1 New Museum and Art Space". W International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.092.

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Bartseva, A. A., A. G. Shakhparunyants, A. Sh Chernyak, R. I. Stolyarevskaya i E. I. Rozovskiy. "DEVELOPMENT OF NEW STANDARDS FOR MUSEUM LIGHTING". W CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po48.

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The new standards for museum lighting development was based on data collection by means of questionnaires, processing and analysis of subjective assessments of art historians, museum workers, research results of restorers and expert visitors, along with objective, physical measurements of photometric parameters of lighting installations in selected exhibition halls of the most famous museums in Russia. Based on the studies performed, national standards of both permanent and preliminary nature were prepared and introduced in 2020 by institute VNISI named after S.I. Vavilov.

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"“THAT’S JUST SOMETHING I WAS PLAYING WITH.” MATH TALK AND AVOIDANCE IN AN ART MUSEUM". W International Conference on Education and New Developments. inScience Press, 2023. http://dx.doi.org/10.36315/2023v1end139.

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Cost, Diana, Jessica Chin, Ibrahim Zeid, Claire Duggan i Sagar Kamarthi. "Effective Use of Engineering in Teaching Secondary STEAM Courses: A Robotics Course Example". W ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-62569.

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Global Learning Charter Public School (GLCPS) is an urban secondary school located in the city of New Bedford, Massachusetts. GLCPS educates students in grades 5–12. It is a Title I school with over 74% of the student population on free and reduced lunch. Historically, only 60% of students graduating from New Bedford move on to postsecondary education. It is the goal of our school to change this and increase the number of students entering post secondary education and more specifically to increase their interest in STEAM (science, technology, engineering, arts, and math) fields. GLCPS provides a unique educational experience where students demonstrate academic excellence and mastery of essential skills. These skills include: technology literacy, public speaking, global citizenship and arts exploration. Incorporation of STEAM (science, technology, engineering, art, and mathematics) is a continued goal for our school. After attending teacher educator training/professional development in engineering-based learning (EBL), we decided to create a robotics course, which fully embedded EBL into the curriculum. The goal of this robotics course is two fold: 1) Combine engineering, math, science, and art/creativity into one course; and 2) engineering-based learning can impact the way students learn STEAM principles, retain STEAM theory, and apply them to real world, relevant applications. The purpose of this paper is to illustrate how engineering-based learning inspired and impacted the development of a robotics course in an urban, financially disadvantaged, secondary charter school. Specifically, we detail how the principles and tools of the engineering-based learning pedagogy affected the development and implementation of this robotics course. Lastly, we will demonstrate how EBL and the robotics course have changed student perceptions of science, engineering, and math.

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Ronco, Francesca. "Smart technologies in the museum environment. AR experiments on physical models at the Museum of Oriental Art in Turin". W HEDIT 2024 - International Congress for Heritage Digital Technologies and Tourism Management. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/hedit2024.2024.17472.

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The concept of Smart Tourism has developed rapidly within the Smart Cities paradigm, which emerged at the beginning of the new millennium in various scientific fields. Museums, traditionally centres of cultural and technological dissemination and display, are becoming places to experiment with smart technologies (digital survey, AR, VR, digital fabrication, and AI) for analytical purposes and to enhance the visitor experience. This technological revolution affects the way museum visitors interact with cultural heritage. This process is part of the Fourth Industrial Revolution and is based on multiple technologies that blend physical and virtual environments. These tools have shown benefits for accessing, comparing, and understanding space-related information about artefacts and advantages in developing compelling forms of storytelling aimed at visitors. Trying to give an overview of the technologies used, which have some relevance to the disciplinary field of representation, one can talk about digital acquisition techniques, Augmented Reality, Virtual Reality, digital fabrication, and artificial intelligence. The models obtained with different digital acquisition techniques allow new ways of content fruition. Both virtual and physical outputs aim to increase the inclusiveness of collections, meeting the various needs of users related to age, physical, sensory, cognitive, cultural, and experiential factors. The paper presents the outcomes of some experiments conducted in Museo d'Arte Orientale of Turin aimed to explore the continuum between real and virtual in the museum field through intelligent technologies. The experiments illustrate how to integrate AR technologies into the enjoyment of content, inside and outside the museum, with the support of real models.

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Zagryadskaya, A. "THE FORMATION OF THE MUSEUM AS A RESULT OF CHANGES IN AESTHETIC CONSCIOUSNESS (FROM RENAISSANCE TO NEW TIME)". W Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2558.978-5-317-06726-7/113-117.

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The creation of the museum institutions and the drift of art from private life into a specialized exhibition space are analysed. The changes of views on the nature of the aesthetic from the Renaissance to Early modern period and their connection with the emergence of art institutions are considered. The interpretation of the concept of G.-H. Gadamer on the role of the spectator in art is given in the context of aesthetic experience.

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De Nicola, Alessandra. "HERITAGE AND ART EDUCATION THROUGH THE SCREEN. FILLING THE SPACE BY PERFORMATIVE METHODOLOGIES". W International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end140.

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Long before the pandemic, museums started to invest, experimenting with some performative practices (Bishop 2006; Lista 2006) as a method and tool to foster access and participation of different audiences to their heritage. Since the advent of the #culturequarantine, in which most of the educational activities have taken place through a digital space, care and attention to gesture and space have become a key to respond effectively to the needs of educators and users. After an initial phase of rejection and disorientation, teachers, educators and trainers had to find new answers. The aim of this contribution is to describe some of these answers looking at methodologies coming from the field of choreographic and performance research. The argumentation will pass through the narration of some international proposals, three action research experiences accomplished with museum educators and schoolteachers, through which it was possible to observe how the needs and requirements changed as the lockdown conditions changed. The outcome of the research, which took about one year, is the reconsideration of the body as a mediator of the educational and training experience. On the one hand we see the "body as archive" for new knowledge, on the other hand, the space of digital educational activities is reified, thanks to this new role of the body.

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.

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Mitrović, Aleksandar. "VIRTUAL ART MUSEUM AS EDUCATIONAL CONTENT ICT IN TEACHING FINE ARTS (THEORETICAL ASPECT)". W SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.417m.

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The educational goal of teaching fine arts is to adopt visual literacy and visual expressiveness. Learning by means of information and communication technologies (ICT) involves the use of digital devices for the effective and creative extension of knowledge. The production of electronic educational materials is increasing daily, and thanks to the Internet, it is available on almost all ICT devices. In this paper virtual museums are presented as educational contents of ICT in the teaching of fine arts, as well as their method of application in teaching. The contents presented by virtual museums provide an interactive and non- interactive method of learning and exploration. The interactive educational content of virtual museums is often in the form of educational applications or websites that can be found on ICT and have well-intended educational goals. The contemporary approach and use of ICT in the teaching of fine arts provides new learning opportunities that focus on the aesthetic experience and theoretical aspect of visual content. Given that it takes less time to adopt pictorial content than to adopt verbal content, today’s approach to fine arts education involves the use of ICT.

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Sadeq, Mohammedmoin. "New Lights on Mamluk Cartouches and Blazons Displayed in the Museum of Islamic Arts, Doha: An Art Historic Study". W Qatar Foundation Annual Research Conference Proceedings. Hamad bin Khalifa University Press (HBKU Press), 2016. http://dx.doi.org/10.5339/qfarc.2016.sshaop3016.

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Raporty organizacyjne na temat "New Bedford Art Museum"

DMITRIENKO, B. Ch, O. A. KOVALEVA i E. A. RUBETS. VR TECHNOLOGIES AS A MEANS OF VIRTUAL MUSEUM PEDAGOGY. Science and Innovation Center Publishing House, kwiecień 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-2-63-70.

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Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - virtual museum pedagogy. VR technologies are beginning to occupy leading positions, but it is important to note that today in art pedagogy there is no idea how to build the educational process in such a context. Thus, this area of pedagogy today requires a deep and comprehensive study. This has determined the purpose of this study. The objectives of the study follow from the goal: 1) To reveal the specifics of virtual museum pedagogy 2) To develop basic pedagogical recommendations for conducting virtual excursions using VR technologies Materials and methods. The methods of this study were analysis and synthesis. Results and discussion. The results of the study consist in the VR technologies usage in art pedagogy features identification.

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

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

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Jewell's Crescent City Illustrated: New Orleans: 1874. Inter-American Development Bank, marzec 2000. http://dx.doi.org/10.18235/0006419.

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Sixty objects and historic documents from the Historic New Orleans Collection, the Louisiana State Museum, and the New Orleans Museum of Art, including maps, photographs, lithographs, land deeds, silverware, earthenware, woodwork, msuic sheets, and even the trumpet of jazz great Dave Bartholomew. The "River and a City" section gave an overview of the history of New Orleans since discovery, and the "Unique Cultural Blend" section highlighted cultural expressions unique to the city itself. The exhibition was organized in honor of the City of New Orleans, site of the 41th Annual Meeting of the IDB Board of Governors in March, 2000.

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