Rozprawy doktorskie: „New Mexico Museum of Art”

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Rose, Rebecca. "The evolution of the private art museum in Mexico". Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19384/.

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Over the last thirty years there has been a proliferation in the number and diversity of privately- funded exhibition spaces for contemporary art in Mexico. Driving this development is a new generation of art collectors and my research project is concerned with how collector-led models of patronage have influenced the recognition, impact and public display of contemporary art in Mexico. My thesis begins by exploring what constitutes an art collection, the significance of a museum, and what motivates a collector. I then present an overview of the historical relationship between state and private art collections in Mexico, followed by a critique of landmark events in the genesis of the Mexican art market. In the second part of my research project I identify a group of influential mid-twentieth century collectors who established their own exhibition spaces in order to share their collections with the public, followed by an analysis of their legacy through the activity of the current generation of collectors, whose efforts to promote contemporary art within Mexico and abroad have spawned a new climate of creative enterprise and collaboration. This thesis seeks to present a survey of the evolution of the private exhibition space in Mexico by examining independent cultural initiatives whose ambition is to change the way the public engages with contemporary art. In my findings I examine how collectors’ objectives manifest a vision for the museum visitor experience and the impact of these privately-funded institutions on Mexico’s cultural identity.

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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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Isaac, Gwyneira. "The museum as mediator : a case study of the A:shiwi A:wan Museum and Heritage Center, Zuni, New Mexico". Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395469.

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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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Ho, Louis Kin Chung. "Musing new museology : politics of the Hong Kong Museum of Art". HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_ra/1502.

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Yamakazi, Kari. "A report on internship at the New Orleans Museum of Art". ScholarWorks@UNO, 2000. http://scholarworks.uno.edu/aa_rpts/29.

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From May through August of 2000, I served for the New Orleans Museum of Art in New Orleans, Louisiana, as an intern. The institution provides a variety of museum experiences for both locals and tourists, and counted as one of the South's premier art museums. The Museum, however, has numerous issues and challenges. Although the institution is continuously expanding, the next decade will be a test for the Museum's staff members regarding management, programming, and competition. The following report provides overview of the Museum's mission, history, collections, as well as its organizational structure. I explain my internship in terms of tasks assigned, justifying my contribution to the institution.

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DeLoach, Dana Engstrom. "Image and Identity at El Santuario de Chimayo in Chimayo, New Mexico". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278102/.

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El Santuario de Chimayo is a small community shrine that combines both native Tewa Indian and Christian traditions. This study focuses on the interaction between traditions through analysis of the shrine's two major artworks: a crucifix devoted to El Senor de Esquipulas (Christ of Esquipulas) and a statue of the Santo Nino (Holy Child). The shrine and its two primary artworks are expressions of the dynamic interaction between native and European cultures in New Mexico at the beginning of the nineteenth century. They frame the discussion of native and Christian cultural exchange about the relationships between religious images, how they function, and how they are interpreted.

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Fabris, Margherita <1981&gt. "Gli arazzi con l'unicorno del Metropolitan Museum di New York". Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4286.

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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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Parsons, Rachael Nerrada. "Virion : new media and the development of the discursive museum". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/44089/1/Rachael_Parsons_Thesis.pdf.

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The historical rhetoric established with the very first public art museums declared that the purpose of such institutions was to provide a space where art could be accessible to all citizens. However contrary to this aim, studies show that art museums are one of the least accessed cultural institutions in the western world. The prevailing consensus for this can be attributed to the perception that museums are elitist, irrelevant and restricted to a small and privileged group. The focus of this research project is to address the issues that lead to these perceptions, and to identify possible curatorial strategies to encourage greater access to, and participation in the visual arts. This will be done through designing and curating an open submission exhibition that utilises new media technologies to increase access and dialogue between artists and audiences. This is part of a hybrid practice-based methodology that also includes scholarly research to critically investigate a number of historical and contemporary theories concerned with public museums and approaches to curatorial practice. This research will culminate in the development of Virion, an Internet based exhibition that aims to develop a curatorial model that facilitates open and democratic participation in arts practice from a diverse public audience.

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Hannon, Brian. "Arts Administration internship report : the New Museum of Contemporary Art : a report". ScholarWorks@UNO, 1992. http://scholarworks.uno.edu/aa_rpts/79.

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Stephen Weil writes in his collection of essays, Rethinking the Museum and Other Meditations," .. we must never forget that ideas--and not just things alone--also lie at the heart of the museum enterprise. Reality is neither objects alone nor simply ideas about objects (2). Weil's insight into the matter of museums prompted me to search out a particular type of organization in which to work for this internship. No doubt any number of respected and successful institutions in New York City could have offered me an extraordinary internship in arts administration, but I was drawn to The New Museum of Contemporary Art in SoHo for the way it sought to explore ideas about the nature of art, the way it defied standard institutional practice, and the way it brazenly undermined conventional expectations of the museum experience. The New Museum confronted the common assumptions about what art is and the way arts organizations relate to our culture. Here was a museum that took risks, that did not claim to know all the answers, but was willing to systematically open itself to criticism as part of its mission. The New Museum provided me the opportunity to explore the possibilities not described in the textbooks. I knew this organization would inevitably pose a new set of problems, but I was sure it was just as likely to set forth new solutions as well. As it turned out, my original semester-long internship became a year-long adventure that provided me the chance to work closely with the influential director of a major New York art museum, the responsibility of overseeing an installation in one of its smaller galleries, and, ultimately, the opportunity to assume the position of coordinator of an exhibition that encompassed the entire museum. Were it not for this museum's willingness to take a chance on an unproven quantity, to trust, to try the untried, I would not have gained so soon the experience and confidence that this institution so freely granted.

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Essen, Jennifer Michelle. "A world elsewhere : art colonies in California and New Mexico, 1900-1940". Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/a-world-elsewhere(e126f861-bef3-44af-a837-345645411be0).html.

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This thesis analyses the distinct form of art colony that flourished in Carmel, California and Santa Fe and Taos, New Mexico, in the opening decades of the twentieth century. The diversity of people, experience and colony-produced art has largely discouraged analysis of western colonies as a group. My argument in this thesis is that new interpretive frameworks are needed to understand the defining and shared qualities of these colonies. Identifying patterns in seemingly disparate practices reveals the kind of colony this was, its features, its appeal and its influence on the artistic work of participants. I begin by charting the art colony tradition as it unfolded in the US and tracing the western art colony’s development out of this established model. Despite shared styles of sociality and retreat from urban America, the western art colony differed from its predecessors in its greater remoteness, particular style of community and opportunities for contact with Native and Spanish-speaking populations. In this they build on an established rhetoric of romantic otherness in these regions. Successive chapters explicate my definition of these colonies as networks of temporary association. Chapter Two explores the ways in which the colony’s community balanced a sense of belonging with opportunities for multi-directional movements, allowing art-colonists to control their engagement with the colony milieu. In Chapter Three I focus on Anglo-American art-colonists’ interactions with Native and Spanish-speaking peoples, specifically their formally experimental but problematic attempts to comprehend cultural difference. Chapter Four moves from intercultural to interpersonal interactions by exploring how these art colonies generated an arena for negotiating the intersections between gender and artistic autonomy. As improvisatory spaces these art colonies accommodated and even thrived on diversity and mutability. This thesis recovers western art colonies as important examples of collaborative artistic endeavour.

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Barry, Kristin Marie. "The New Archaeological Museum: Reuniting Place and Artifact". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212080498.

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Geiger, Stephan. "The art of assemblage the Museum of Modern Art, 1961 ; die neue Realität der Kunst in den frühen sechziger Jahren". München Schreiber, 2005. http://d-nb.info/98913458X/04.

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Hole, Heather. ""America as Landscape" Marsden Hartley and New Mexico, 1918-1924 /". View this thesis online, 2005. http://libraries.maine.edu/gateway/oroauth.asp?file=orono/etheses/37803141.pdf.

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Thesis (Ph.D.)--Princeton University, 2005.
Title from PDF title page. Available through UMI ProQuest Digital Dissertations. Includes bibliographical references (leaves 282-286). Also issued in print.

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Bryan, Amanda. "New Museum Theory in Practice: A Case Study of the American Visionary Art Museum and the Representation of Disability". VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1627.

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Since the inception of new museum theory, and the emphasis it places on the social purpose of museums within society, museum professionals and museum studies theorists have struggled to define what role museums must take in combating prejudices and fostering better understating of difference. Richard Sandell is one such theorist who writes about the importance of, and need for, greater inclusion of disabled artists and works of art containing themes of disability into exhibitions and display. This thesis examines Sandell’s scholarship, noting its foundation in new museum theory and disability studies, and then, employing a case study of the American Visionary Art Museum, illustrates the issues illuminated in Sandell’s writing. Finally, utilizing the case study, this thesis will offer aims for further research within museum studies not yet considered by Sandell, especially within educational goals and activities of the museum.

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Chrisman, Lainie M. "Interactive Technology & Institutional Change: A Case Study of Gallery One and the Cleveland Museum of Art". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408908791.

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Cutrone, Signe. "A report on an Arts Administration internship with the New Orleans Museum of Art". ScholarWorks@UNO, 2000. http://scholarworks.uno.edu/aa_rpts/32.

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The internship program at the New Orleans Museum of Art provides graduate and undergraduate students from universities and colleges with on-site training in various museum responsibilities under the guidance and training of a senior level staff member. Internships are available in the administration, curatorial, development or educational departments of the Museum. I chose the public relations department for my internship because public relations is an art organization's essential contact with its public through communications that are not entirely based on publicity, and as such I wanted to learn more about the operation of the department. Because public relations work requires some skill and confidence in writing (Rudman 9), I believed that I was qualified to assist in writing assignments with an undergraduate degree in English.

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Osborne, Michelle. "The curator's room visceral reflections from within the museum : exegesis [thesis] submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2004". Full thesis. Abstract, 2004.

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Alamsjah, Winnie 1974. "Rethinking the modern : imagining the future of the Museum of Modern Art, New York". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/62954.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.
Includes bibliographical references (p. 103-105).
The thesis seeks to explore the implications of the emergence of the digital media as a new art form on the museum space. The museum as an institution has faced some ideological and philosophical contradictions in recent times. Economically, heightened competition for dwindling funds has begun to shape programming decisions. Philosophically, the museum's perceived authoritarian role clashes with the critiques of cultural hegemony that are so much a part of the contemporary art world. Contemporary art forms that intentionally subvert the equation of art and object are often less compatible with traditional conceptions of museum space. And socially, museum expansion is often used as a tool for the gentrification of museum neighborhoods, a stratagem that cheers civic boosters and troubles social critics. All these point to a social, philosophical, political critique of the museum as an institution. The thesis does not attempt to resolve all the issues rooted in the current museum culture/structure. Rather, it seeks to study the various museums built historically and propose a new way of understanding the role of the museum in relation to the issues brought up by artists, social critics, historians alike. The exploration involves both spatial and material articulation. What could a museum be?
by Winnie Alamsjah.
M.Arch.

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Wright, Lesley. "Surviving in New York : an exploration of development at the Museum of Modern Art". ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/85.

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Gilbert, Sean. "The New Orleans Museum of Art: Fostering Change through Acceptance, Openness, and Community Engagement". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/160.

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The internship report that follows this is the result of my time interning with the New Orleans Museum of Art. During my time at NOMA I had the unique opportunity to work with both the department of Interpretation and Audience Engagement and the department of External Affairs. Through this duel departmental internship at the Museum I began to understand the history of the Museum where it came from and what makes NOMA the institution it is today. Throughout the country museums and cultural institutions are having to adapt to today’s arts economy. Meaning institutions must become adaptable, transparent, and more engaged with their communities. This report is my attempt to delineate ways in which NOMA much like the city of New Orleans can become a truly unique institution through community engagement.

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Lacayo, Victoria C. "New Orleans Museum of Art: A Master’s Report on my Internship Experiences and Observations". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/171.

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This report outlines my experiences and observations the New Orleans Museum of Art (NOMA). It will focus on a brief history of expansion through size and collections, attempts to garner a younger audience through new tactics, and will analyze the Museum’s strengths, weaknesses, opportunities, and threats. I will address the ways that staff members are adapting to help secure NOMA’s relevancy as a modern and forward thinking non-profit who is actively trying to grow its youth membership. I will primarily focus on the efforts of the External Affairs department to refine its long and short-term goals that include creating better alliances with other museums and cultural organizations within the community and revamping their fundraising events to appeal to a wider audience. In the conclusion of this report, I will present my recommendations to address some of the shortcomings I observed while working at the Museum.

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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /". Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.

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Madigan, Valeri J. "A comparison of tomb art from New Kingdom Egypt and classic period Oaxaca, Mexico". Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1290.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Sciences
Anthropology

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Shiffrar, Genevieve Ruth 1966. ""Its future beyond prophecythe City of New Jersey, worthy sister of New York": John Cotton Dana's vision for the Newark Museum, 1909-1929". Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278461.

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A member of America's established cultural elite, John Cotton Dana (1856-1929) aimed to wrest cultural and economic authority from the nouveau riche through his role as the first director of the Newark Museum. In his favorite exhibition, "New Jersey Textiles," he encouraged local immigrant laborers to improve the design of goods that he simultaneously prompted middle-class women to purchase. He imagined that, as a result, Newark's manufacturing sector would blossom without nouveau-riche involvement; the region would soon rival its new-money neighbor, New York City. Under Dana's supervision, Jarvis Hunt (1859-1941) designed the 1926 Newark Museum building, employing the conventions of contemporary office architecture (predating a similar strategy at the Museum of Modern Art) to articulate this vision. The Metropolitan Museum of Art designed a series of exhibitions indebted to Dana's ideas. Ironically, the Metropolitan has received credit for innovations that Dana had designed to challenge New York's preeminence.

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Manzano, Raul. "Language, Community, and Translations| An Analysis of Current Multilingual Exhibition Practices among Art Museums in New York City". Thesis, Union Institute and University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10060087.

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This dissertation provides an analysis of current multilingual practices among art museums in New York City. This study is located within the current theoretical analysis of 1) museums as sites of cultural production and 2) the politics of language, interpretative material, and technology. This study demonstrates how new roles for museums embracing multilingual exhibitions and technology may signal new ways of learning and inclusion.

The first part is a theoretical-based approach. The second part consists of a mixed-method research design using qualitative and quantitative methods to create three different surveys: of museum staff, of the general public, and finally my observations of museum facilities and human subjects.

Multilingual exhibitions are complex and require changes at all levels in a museum's organizational structure. Access to museum resources can provide more specific data about language usage. The survey responses from 175 adults provides statistics on multilingual settings and its complexity. The survey responses from 5 museums reveals the difficulty, and benefits, of dealing with this topic. Visual observations at 36 museums indicate that visitors pay attention to interpretative material, while production cost, space, and qualified linguistic staff are concerns for museums. Technology is a breakthrough in multilingual offerings, for it can help democratize a museum's culture to build stronger cultural community connections.

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Abney, Allison L. "The New Orleans Museum of Art: A Case Study Demonstrating the Weakened Vision of New Orleans' Most Established Cultural Institution". ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/130.

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The New Orleans Museum of Art (NOMA) is widely believed to be the most established cultural institution of its kind in New Orleans. The museum building is an extension of its landscape, designed and established as a gift that has been enjoyed by the city for more than a century. The term of my internship with the Museum coincided with its Centennial Celebration year of 2011. In possession of one of the Gulf South's most prized permanent collections, NOMA has demonstrated its continued sustainability through the longevity of its establishment in addition to its rapid recovery following the Hurricane Katrina disaster. As with many long-established institutions, the years have made their mark on the New Orleans Museum of Art and there are cracks in its foundation. This point is made most clear in terms of a lax adherence to its stated mission and goals, in addition to a weakened bond with its served community. The following report serves as a case study of the Museum; it addresses organizational issues revealed through situational analyses and personal observations. The report concludes with recommendations prescribed for the future success and sustainability of NOMA in the furtherance of its mission.

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Eddy, Caroline. "The House to House: A Study of Creating Public Space Within a New Museum Model". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3104.

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By integrating the gallery model within the museum model, a new hybrid model is allowed to take form which works to establish the legacy of heritage of a place and provides the muse for artists working today. Through the application of 3rd Space theory to this new hybrid model, the place in question can become integral to the activities of the people of the community and its visitors, providing sustainable support and community involvement to the non-profit model. The Old City Market is an icon to historic Petersburg. As a museum, the building will serve the community as a place where the heritage of art and craft within the community is redefined. As a gallery, the building will serve the community as a place where artists can sell their work, supporting the act of making. By supporting the co-existence of these spaces as a hybrid, the arts become a micro-economy where artists seek both inspiration and sustenance. Museums are increasingly threatened by greater economic variables. They are considered to be non-essential by many and financial support is relegated to uncertain philanthropic giving. By positioning museums as gathering places for the community’s daily rituals, people are more likely to see them as an important institution to maintain, and worthy of their financial support. The museum will become a 3rd Space, which, as defined by author Ray Oldenburg, is a place outside of home or work where community members go to interact. A successful 3rd Space is an accessible one, in terms of cultural un-bias, physical accommodation, openness and recognition (Oldenburg 1997). By making the Old City Market such a place, its likelihood of survival increases infinitely. The success of this strategy is dependent on the interior environment’s engagement with the exterior environment.

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Mwendo, Nilima Z. "Passionate visions of the American South: self-taught artists from 1940 to the present: an Arts Administration internship at the New Orleans Museum of Art". ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/54.

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This paper demonstrates the overall success of bringing non-traditional audiences to a New Orleans Museum of Art (NOMA) exhibition, "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present." It also highlights the success of some of its public programs. However, the process of attracting these audiences to the museum falls short in its attempts at developing long-term relationships with NOMA. The first chapter provides historical background on NOMA and offers an overview of the "Passionate Visions" project. Chapter Two describes, in relative detail, the project's community outreach component and implementation of its public programs. It closes with an analysis of short range and long term impacts. The final chapter further analyzes the project experience, inclusive of the management style of the project director, issues surrounding conflict of interest and ethics, and the degree of NOMA's commitment, or lack thereof, to long-term non-traditional audience inclusiveness.

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Haines, Cooke. "Frederick Kiesler's Art of This Century Gallery in New York (1942-1947), in the context of the twentieth century art museum". Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438419.

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Douglas, Craig Cameron, i n/a. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum". Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.111309.

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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.

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Douglas, Craig Cameron. "Cultivating the [New] Country: Disclosing Through Curatorship the Cultural and Economic Development Potential of the Australian Regional Art Museum". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/365856.

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This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Full Text

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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand". Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.

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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.

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Slentz, Jessica E. "Yes, You May Touch the Art: New Media Interfaces and Rhetorical Experience in the Digitally Interactive Museum". Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491621655068925.

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Barrere, Laetitia. "La photographie documentaire à l'épreuve du modernisme au "Museum of Modern Art" de New York (1937-1970)". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010594.

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Cette thèse est consacrée aux questions de réception et d'institutionnalisation de la photographie documentaire et de la photographie de reportage à partir de 1937 jusqu'aux années 1970 au Museum of Modem Art (MoMA) de New York. Le premier chapitre revient sur la genèse et les enjeux de l'instauration de la straight photography comme canon d’une tradition esthétisante du médium et éclaire l’influence de la critique formaliste dans l'émergence d'un modernisme documentaire, exemplifié par la production de Walker Evans. De nombreux photographes dont les pratiques ne correspondaient pas aux idéaux de perfection technique de la straight photography ont de exclus des circuits de légitimation institutionnelle, en particulier les membres de la Photo League de New York. La photographie documentaire urbaine, développée en dehors de la doxa moderniste, fait l'objet du deuxième chapitre de cette étude. A. cet égard, une attention particulière est consacrée à l'œuvre critique d'Elizabeth McCausland, principale porte-parole de la fonction sociale de la photographie. Le troisième chapitre se concentre sur la période de l’après-guerre. Dans ce nouveau contexte, les Américains sont à la recherche de nouveaux canons artistiques, qu'ils trouvent dans la photographie de reportage française, dont Henri Cartier-Bresson représente le chef de file. Ce chapitre dévoile les intérêts diplomatiques du modernisme dans les échanges transatlantiques avec la France, ainsi que ses intérêts économique à travers l'exemple d'André Kertész dont l'exposition au MoMA suscite l'envol de sa cote sur le marché naissant de la photographie dans les années 1970
This thesis is dedicated to questions of reception and institutionalization of documentary photography and reportage photography from 1937 through to the 1970s at the New York Museum of Modern Art (MoMA). The first chapter looks at the development and objectives of the advent of straight photography as a canon or an aestheticizing tradition of the medium, and sheds light on the influence of formalist criticism in the emergence of a form of documentary modernism, exemplified by the works of Walker Evans. Many photographers whose practices do not correspond to the ideals of technical perfection of straight photography were excluded from the circuits of institutional legitimization, particularly the members of the New York Photo League, Urban documentary photography, developed outside of the modernist doxa will be the subject of the second chapter of this study. In this respect, particular attention is paid to the critical work of Elizabeth McCausland, a major spokesperson for the social function of photography. The third chapter focuses on the post-war period. ln this new context. The Americans were looking for new artistic canons, which they found in French reportage photography, with Henri Cartier-Bresson leading the fray. Finally, this chapter reveals the diplomatic interests of modernism in Transatlantic exchanges with France, as well as its economic interests, taking André Kertész, as an example, whose exhibition at MoMA caused his works to suddenly rise in value on the inchoate photography market of the 1970s

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Mangipano, John. "Remolding Mexican Identity: The Wax Art of Francisco Vargas in 19th Century New Orleans". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1327.

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In December of 1915, the New Orleans Times-Picayune reported on the death of the patriarch of four generations of Mexican wax figure artists whose artworks demonstrated a century of change in the city of New Orleans. The family's artworks included religious sculptures, representations of indigenous and peasant populations of Mexico, and the merchant populations of the French Quarter. Francisco's artworks represented Louisiana's agriculture at two World's Fairs in New Orleans and Buffalo. Francisco received a contract from Mississippi Commissioner R. H. Henry to produce the 30-foot King Cotton for the 1904 Louisiana Purchase International Exposition in St. Louis, Missouri. Though the family's success continued after Francisco's death, an examination into the family's business, artworks, travels, and personal connections during Francisco's lifetime provides a new avenue for exploring the relationship between New Orleans and Mexico in the nineteenth century

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Verdon, Tatiana Sol. "Scientific Analysis and Technical Study of Three Ancient Egyptian Royal Textiles from the Tomb of Hatnofer and Ramose, Western Thebes, New Kingdom, Dynasty 18, 1550-1295 B.C". Thesis, Fashion Institute of Technology, SUNY, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10937091.

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An Egyptian archaeological textile, accessioned in the American Museum of Natural History (AMNH) (Cat.No. 95/2444), from the Tomb of Hatnofer and Ramose, Eighteenth Dynasty (1550-1295 B.C.), Western Thebes was studied, with two textiles (Cat.Nos. 95/2443 and 95/2445) from the same tomb used as comparanda. The textile’s finely spun fibers, plain-weave balanced structure with selvedge fringes and lower edge fringes, and with various weavers’ marks, stains, and losses, provide invaluable historical data about finely woven, royal linens of Eighteenth Dynasty Egypt.

Scientific analysis used for this study include: visual annotations, polarized light microscopy (PLM), scanning electron microscopy (SEM) including fiber diameter measurements, and carbon-14 dating. Closely examining a textile and its fibers can provide information about the condition of the textile, linen quality, weaving techniques, and the life of the textile itself. While the linen fibers in the Study Textile (Cat.No. 95/2444) and the Comparanda Textile #1 (Cat.No.95/2443) have been identified, it is still uncertain whether or not the fibers in the Comparanda Textile #2 (Cat.No.95/2445) are of a different quality linen or of a different plant material which is very similar to linen within the bast fiber family. Further studies would be required to answer this and several other questions that remain.

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Kivlan, Anna Karrer. "An eye for vulgarity : how MoMA saw color through Wild Bill's lens". Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39314.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.
Includes bibliographical references (p. 67-71).
This thesis is an examination of the 1976 Museum of Modern Art exhibition of color photographs by William Eggleston-the second one-man show of color photography in the museum's history- with particular attention to the exhibition monograph, William Eggleston's Guide. From hundreds of slides, MoMA Director of Photography John Szarkowski dominated the process of selecting the 75 images for the exhibition and 48 to be carefully packaged in the Guide, a faux family photo album/road trip guidebook. It is my contention that, despite their verbal emphasis on the Modernist and universal (rather than Southern) nature of the images, the photographs can be read as being replete with the mythology of the Old South- its decay, vulgarity, and even horror. Through this act of manipulation, the images in the Guide appealed in a voyeuristic way to an elite Northern art world audience, ever eager to reinforce its own intellectual, economic, and ethical superiority over other parts of the country. Due to its presumed "vulgarity" and absence of aesthetic mystique at the time, color photography required for its inaugural moment at the museum a sharp distancing from the documentary tradition and advertising-the complete erasure of social context afforded by a Modernist aesthetic.
(cont.) The two-faced posture maintained by the curator and photographer combined a canny understanding of the cultural power of the images with an overtly Modernist disavowal of it.
by Anna Karrer Kivlan.
S.M.

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Chawaga, Mary. "The Cube^3: Three Case Studies of Contemporary Art vs. the White Cube". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1066.

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Museums are culturally constructed as places dedicated to tastemaking, preservation, historical record, and curation. Yet the contemporary isn’t yet absorbed by history, so as museums incorporate contemporary art these commonly accepted functions are disrupted. Through case studies, this thesis examines the successes and failures of three New York museums (MoMA, Dia:Beacon and New Museum) as they grapple with the challenging, perhaps irresolvable, tension between the contemporary and the very idea of the museum.

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Caloghirou, Christina 1971. "Marketing the aesthetic encounter : the role of consumption in the design of the new Museum of Modern Art". Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/64902.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.
Includes bibliographical references (p. 140-143).
In recent years, museum architecture has been extensively subjected to cultural critique. Perceived as an instance of architects' stylistic yearnings, reflecting control strategies, promoting institutions' economic and cultural power, catering for education through forms that increasingly associate it with commercial environments and building structures, museum architecture is examined in this thesis as a significant ground for articulating the relation between cultural and consumer practices. Assuming that contemporary societies increasingly operate within a highly consumptive culture, where people seek new experiences through travel, leisurely activities and cultural exposure, and considering that the physical environment challenges and affects the perception of our material and immaterial worlds, we investigate the role of consumption in recent museum design. In so doing, this study focuses on the new expansion of the Museum of Modern Art in New York, a project that surprised critics both in its choice of participants and the conceptualization of its design process. We discuss the meaning of consumer culture in the context of cultural institutions, outline its effect on the definition of MoMA's institutional identity and study its role and expression in the conceptual and design phases towards the selection of the final project. The objective is to review and expand our understanding of the relationship between consumption and cultural production in museum spaces while aspiring to develop an operative framework for future thought and practice in the shaping of new architectural identities.
by Christina Caloghirou.
M.S.

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Sullivan, L. "The New Orleans Museum of Art: Connecting a Cultural Legacy to the Community through Interpretation and Audience Engagement". ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/aa_rpts/144.

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The following report is the result of an internship with the oldest fine art institute in the city of New Orleans. I had the opportunity to work at the New Orleans Museum of Art within the Department of Interpretation and Audience Engagement. Over the course of this internship, I observed the staff of this prolific organization create and facilitate educational experiences and public programming relating to special exhibitions and the permanent collection while appealing to all ages and supporting the Museum’s mission. This report seeks to summarize the history of the institution, outline particular programs, and to define the importance of interpretation and audience engagement within visual arts organizations. It concludes with recommendations deduced from best practices aimed to strengthen the connection between the community and this cultural legacy through interpretation and audience engagement.

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