Taking Up Space: Museum Exploration in the Twenty-First Century

Science.gov (United States)

Sutton, Tiffany

2007-01-01

Museums have become a crucible for questions of the role that traditional art and art history should play in contemporary art. Friedrich Nietzsche argued in the nineteenth century that museums can be no more than mausoleums for effete (fine) art. Over the course of the twentieth century, however, curators dispelled such blanket pessimism by…

Self in Art/Self As Art: Museum Selfies As Identity Work

Science.gov (United States)

Kozinets, Robert; Gretzel, Ulrike; Dinhopl, Anja

2017-01-01

Selfies, digital images characterized by the desire to frame the self in a picture taken to be shared with an online audience, are important reflections of the contemporary self. Much extant psychological research on selfies has taken a pathologizing view of the phenomenon, focusing on its relationship to narcissism. Our investigation seeks to contribute to a holistic, contextualized and cultural perspective. We focus on the context of museums, places where art, history, education, and culture merge into the selfie taking behaviors of patrons. First, we explore theory salient to our topic of selfie taking, finding selfies to be an important way to construct ongoing series of narratives about the self. We use concepts of identity work, dramaturgy, and impression management to understand it in this light. We relate embodiment within the museum to the selfie’s performative acts and expand upon notions that emphasize and distinguish the aesthetic elements present in many aspects of everyday life. We also question the ability of the museum selfie to destabilize. We also explore the contextual effects of mimicry and social norms. After describing our ethnographic and netnographic method, we investigate the museum selfie phenomenon. We begin with some observations on the extent of selfie-taking in contemporary culture as well as its evolution. Then, we consider selfies as a type of dynamic art form. Our analysis identifies a range of different types of museum selfies: art interactions, blending into art, mirror selfies, silly/clever selfies, contemplative selfies, and iconic selfies. Considered and studied in context, the museum selfie phenomenon reveals far more than the narcissism of the sort explored by past psychological research. The museum provides a stage for identity work that offers an opportunity for the selfie to be used not only for superficial performances but also in the pursuit of more profound self-reflection and its communication. Our ethnographic

Self in Art/Self As Art: Museum Selfies As Identity Work

Directory of Open Access Journals (Sweden)

Robert Kozinets

2017-05-01

Full Text Available Selfies, digital images characterized by the desire to frame the self in a picture taken to be shared with an online audience, are important reflections of the contemporary self. Much extant psychological research on selfies has taken a pathologizing view of the phenomenon, focusing on its relationship to narcissism. Our investigation seeks to contribute to a holistic, contextualized and cultural perspective. We focus on the context of museums, places where art, history, education, and culture merge into the selfie taking behaviors of patrons. First, we explore theory salient to our topic of selfie taking, finding selfies to be an important way to construct ongoing series of narratives about the self. We use concepts of identity work, dramaturgy, and impression management to understand it in this light. We relate embodiment within the museum to the selfie’s performative acts and expand upon notions that emphasize and distinguish the aesthetic elements present in many aspects of everyday life. We also question the ability of the museum selfie to destabilize. We also explore the contextual effects of mimicry and social norms. After describing our ethnographic and netnographic method, we investigate the museum selfie phenomenon. We begin with some observations on the extent of selfie-taking in contemporary culture as well as its evolution. Then, we consider selfies as a type of dynamic art form. Our analysis identifies a range of different types of museum selfies: art interactions, blending into art, mirror selfies, silly/clever selfies, contemplative selfies, and iconic selfies. Considered and studied in context, the museum selfie phenomenon reveals far more than the narcissism of the sort explored by past psychological research. The museum provides a stage for identity work that offers an opportunity for the selfie to be used not only for superficial performances but also in the pursuit of more profound self-reflection and its communication

Self in Art/Self As Art: Museum Selfies As Identity Work.

Science.gov (United States)

Kozinets, Robert; Gretzel, Ulrike; Dinhopl, Anja

2017-01-01

Selfies, digital images characterized by the desire to frame the self in a picture taken to be shared with an online audience, are important reflections of the contemporary self. Much extant psychological research on selfies has taken a pathologizing view of the phenomenon, focusing on its relationship to narcissism. Our investigation seeks to contribute to a holistic, contextualized and cultural perspective. We focus on the context of museums, places where art, history, education, and culture merge into the selfie taking behaviors of patrons. First, we explore theory salient to our topic of selfie taking, finding selfies to be an important way to construct ongoing series of narratives about the self. We use concepts of identity work, dramaturgy, and impression management to understand it in this light. We relate embodiment within the museum to the selfie's performative acts and expand upon notions that emphasize and distinguish the aesthetic elements present in many aspects of everyday life. We also question the ability of the museum selfie to destabilize. We also explore the contextual effects of mimicry and social norms. After describing our ethnographic and netnographic method, we investigate the museum selfie phenomenon. We begin with some observations on the extent of selfie-taking in contemporary culture as well as its evolution. Then, we consider selfies as a type of dynamic art form. Our analysis identifies a range of different types of museum selfies: art interactions, blending into art, mirror selfies, silly/clever selfies, contemplative selfies, and iconic selfies. Considered and studied in context, the museum selfie phenomenon reveals far more than the narcissism of the sort explored by past psychological research. The museum provides a stage for identity work that offers an opportunity for the selfie to be used not only for superficial performances but also in the pursuit of more profound self-reflection and its communication. Our ethnographic

In the white cube: museum context enhances the valuation and memory of art.

Science.gov (United States)

Brieber, David; Nadal, Marcos; Leder, Helmut

2015-01-01

Art museum attendance is rising steadily, unchallenged by online alternatives. However, the psychological value of the real museum experience remains unclear because the experience of art in the museum and other contexts has not been compared. Here we examined the appreciation and memory of an art exhibition when viewed in a museum or as a computer simulated version in the laboratory. In line with the postulates of situated cognition, we show that the experience of art relies on organizing resources present in the environment. Specifically, artworks were found more arousing, positive, interesting and liked more in the museum than in the laboratory. Moreover, participants who saw the exhibition in the museum later recalled more artworks and used spatial layout cues for retrieval. Thus, encountering real art in the museum enhances cognitive and affective processes involved in the appreciation of art and enriches information encoded in long-term memory. Copyright © 2014 Elsevier B.V. All rights reserved.

Art, the Natural Sciences and a Museum.

Science.gov (United States)

Unterberg, Adele Phyllis

1979-01-01

Described is a school-museum program which linked art and science through the study of small mammals and birds in relation to color, form, and communication. Art, audiovisual aids, research, readings, language, and communication were combined in this interdisciplinary program. (KC)

Museum Education and Art Therapy: Promoting Wellness in Older Adults

Science.gov (United States)

Rosenblatt, Brooke

2014-01-01

By combining museum education with art therapy, museums can make significant contributions to healthcare. The Creative Aging program at The Phillips Collection in Washington, D.C., unites these fields, using artworks and art-making as catalysts to explore feelings, invite self-exploration, and build community. The program fosters an interest in…

The four cultures: Public engagement with science only, art only, neither, or both museums.

Science.gov (United States)

Shein, Paichi Pat; Li, Yuh-Yuh; Huang, Tai-Chu

2015-11-01

This study uses an art-and-science comparative lens to understand the science culture, particularly the public engagement with science museums. A representational Taiwanese sample of 1863 subjects was categorized into "four cultures," who visit science only, art only, neither, or both museums, resulting in six multivariate logistic regression models. Knowledge of science, interests in scientific and social issues, and socio-demographic variables were considered in the models. Adults with children and males prefer science museums, females prefer art museums, and the young and urban intellects show no strong preference, appearing to be open to both science and art museums. The findings show the complex decisions the public make in visiting museums. It is no longer a strictly science or art decision, as framed by Snow's "The Two Cultures" argument; rather, the possibility of visiting both museums has emerged, a phenomenon we describe as cognitive polyphasia. © The Author(s) 2015.

Teen Artists: Impact of a Contemporary Art Museum

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Erickson, Mary; Hales, Laura

2014-01-01

This study describes the effects of a yearlong, multivisit teen program in a contemporary art museum on adolescents' reflections about art. Our purpose was to discover whether this program, focused on experiences with contemporary art and artists with its metacognitive approach, affected students' thinking about their own artmaking. The…

The Rose Art Museum Crisis

Science.gov (United States)

Dillon, Paul

2010-01-01

On January 26, 2009, the Brandeis University Board of Trustees voted unanimously to close the Rose Art Museum (Waltham, Massachusetts). The proceeds from the subsequent auction were to be reinvested in the university to ensure its long-term financial health. The reaction to the decision by campus constituencies provides a case study to show the…

Modern Masters from the Smithsonian American Art Museum

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Johnson, Mark M.

2009-01-01

A new traveling exhibition and catalogue produced by the Smithsonian's American Art Museum features works by 31 artists from the United States who came to maturity in the mid-20th century. These artists have become the most significant and influential artists over the past 50 years as their works adorn the modern galleries of hundreds of museums.…

Impacts of Art Museum-Based Dementia Programming on Participating Care Partners

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Lamar, Katherine L.; Luke, Jessica J.

2016-01-01

The purpose of this study was to describe the impacts of art museum-based dementia programming on participating care partners (CPs). Data were collected through telephone interviews with 29 caregivers who participated in one of three dementia programs: "here: now" at The Frye Art Museum, Seattle; "Meaningful Moments" at the…

Visualizing, clustering, and predicting the behavior of museum visitors

NARCIS (Netherlands)

Martella, Claudio; Miraglia, Armando; Frost, Jeana; Cattani, Marco; van Steen, Maarten

2017-01-01

Fine-arts museums design exhibitions to educate, inform and entertain visitors. Existing work leverages technology to engage, guide and interact with the visitors, neglecting the need of museum staff to understand the response of the visitors. Surveys and expensive observational studies are

From the galleries to the clinic: applying art museum lessons to patient care.

Science.gov (United States)

Miller, Alexa; Grohe, Michelle; Khoshbin, Shahram; Katz, Joel T

2013-12-01

Increasingly, medical educators integrate art-viewing into curricular interventions that teach clinical observation-often with local art museum educators. How can cross-disciplinary collaborators explicitly connect the skills learned in the art museum with those used at the bedside? One approach is for educators to align their pedagogical approach using similar teaching methods in the separate contexts of the galleries and the clinic. We describe two linked pedagogical exercises--Visual Thinking Strategies (VTS) in the museum galleries and observation at the bedside--from "Training the Eye: Improving the Art of Physical Diagnosis," an elective museum-based course at Harvard Medical School. It is our opinion that while strategic interactions with the visual arts can improve skills, it is essential for students to apply them in a clinical context with faculty support-requiring educators across disciplines to learn from one another.

36 CFR 910.35 - Fine arts.

Science.gov (United States)

2010-07-01

... 36 Parks, Forests, and Public Property 3 2010-07-01 2010-07-01 false Fine arts. 910.35 Section 910... DEVELOPMENT AREA Standards Uniformly Applicable to the Development Area § 910.35 Fine arts. Fine arts... of art which are appropriate for the development. For information and guidance, a reasonable...

The Affects of Museum Architecture: Louvre-Lens and Museu de Arte de São Paulo

DEFF Research Database (Denmark)

Jakobsen, Annette Svaneklink

2014-01-01

and context. Inside, visitors are invited to co-create the museum experience by moving freely through the exhibited art works in a setting that seems to re-actualise an experimental exhibition space, which was originally designed by Lina Bo Bardi for Museu de Arte de São Paulo. Through on-site observations...... of art institutions to the museum experience. Keywords: Art Museum, Architecture, Affect...

Pictures in Pictures: Art History and Art Museums in Children's Picture Books

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Yohlin, Elizabeth

2012-01-01

Children's picture books that recreate, parody, or fictionalize famous artworks and introduce the art museum experience, a genre to which I will refer as "children's art books," have become increasingly popular over the past decade. This essay explores the pedagogical implications of this trend through the family program "Picture Books and Picture…

The Impact of Ubiquitous Technologies on the Art Museum as Urban [Political] Space

DEFF Research Database (Denmark)

Jacobsen, Mogens; Søndergaard, Morten

art practice. Our hypothesis is that these new domains have a more general existence and ’profile’ in the paradigm of media art – even though the following is based on the process of creating the ‘MAP – Media Art Platform’ at the Museum of Contemporary Art (MFSK) in Roskilde, Denmark, between 2005...... and 2008, a process in which we both were involved as media artist and media art curator, respectively. Our focus in this article is to investigate further the status of these new competencies and roles, and to ask: what are these new domains that emerge with regard to the artist, the software developer......The Museum is part of a ubiquitous framing of cultural production and a common, urban (political) space. In later years, technology has enhanced the ubiquity, as well as challenged the foundation of, the Museum. From this enhancement and challenge, which is transforming the museum itself, new...

Art Museum Education in Transition: Moderna Galerija in Slovenia

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Zeleznik, Adela

2012-01-01

This essay examines the educational practices at the Moderna galerija, a national museum of modern and contemporary art in Ljubljana, Slovenia, in the last twenty years. Its aim is to reflect on the museum education in relation to broader historical context, of the former Yugoslavia (the country Slovenia was a part of until 1991) and discuss how…

Young Children's Learning in Art Museums: A Review of New Zealand and International Literature

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Terreni, Lisa

2015-01-01

In order to examine the existing literature in relation to the benefits of art museum education for the young, as well as to emphasise the literature gap in early childhood education research pertaining to access to and use of art museums by young children, a review of literature that discussed museum education for young children was undertaken. A…

Considering Fine Art and Picture Books

Science.gov (United States)

Serafini, Frank

2015-01-01

There has been a close association between picturebook illustrations and works of fine art since the picturebook was first conceived, and many ways these associations among works of fine art and picturebook illustrations and design play out. To make sense of all the various ways picturebook illustrations are associated with works of fine art,…

Teens, New Media and Contemporary Art: Expanding Authority in the Museum Context

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Hill, Ryan; Douillette, Joe

2014-01-01

This article explores the impact of technology on contemporary art museums using case studies of teen media programs from the Hirshhorn Museum and the ICA Boston. Teens, as "digital natives," help to define the use of technology in museums. Responding to their needs opens up an institutional dialogue concerning issues of expertise,…

Art Appreciation as a Learned Competence: A Museum-Based Qualitative Study of Adult Art Specialist and Art Non-Specialist Visitors

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Bracun Sova, Rajka

2015-01-01

Since Bourdieu, it has been argued that art appreciation requires "knowledge". The focus of this qualitative study was to examine art appreciation as a learned competence by exploring two different groups of museum visitors: art specialists and art non-specialists. The research was conducted at Moderna galerija in Ljubljana. Twenty-three…

The debate over the creation of a Museum of Modern Art in Paris between the wars and the shaping of an evolutionary narrative for French art

Directory of Open Access Journals (Sweden)

Chara Kolokytha

2016-12-01

Full Text Available The paper comments on the state policies towards modern art throughout the interwar period identifying the private initiatives that sought to precipitate the creation of a museum of contemporary art in Paris. It seeks to discuss the debate over the necessity for the creation of a Museum of Modern Art in Paris that was initiated in the Parisian press shortly after the controversial “Exposition Internationale des Arts Décoratifs et Industriels Modernes”, in 1925, and was perpetuated with the re-organisation of the collections of the Louvre, the Luxembourg museum, and the Jeu de Paume in the late 1920s. The offi cial announcement, in 1934, of the creation of a museum of modern art in Paris, in 1937, initiated a new debate that concerned its collections. A series of exhibitions organised on the occasion of  the “Exposition Internationale des Arts et Techniques”, in 1937, served as a model for the shaping of an evolutionary narrative for French art in which modern art that emerged from 1905 to 1925 appeared as the culmination of the French art tradition. However, the infl uence of foreign artists over French modern art was largely contested, while the discussion initiated by the champions of an international school added a nonconformist nuance to a nationally-oriented dialogue. L’articolo affronta le politiche statali nei confronti dell’arte moderna nel periodo compreso tra le due guerre, individuando anche le iniziative private che hanno cercato di spingere verso la creazione di un museo di arte contemporanea a Parigi. Esso cerca di ricostruire il dibattito avviato sulla stampa parigina poco dopo la controversa “Exposition Internationale des Arts Décoratifs et Industriels Modernes” del 1925, proseguito con la riorganizzazione delle collezioni del Louvre, del museo del Luxembourg e del Jeu de Paume alla fine degli anni Venti. L’annuncio uffi ciale della creazione di un museo d’arte moderna a Parigi, nel 1934, avvia un nuovo

Going Public: Conservation of Contemporary Artworks. Between Backstage and Frontstage in Contemporary Art Museums

OpenAIRE

Saaze, Vivian van

2011-01-01

In museum studies and history of art, what happens behind the scenes of museums stays relatively unseen and unspoken about. In the arts, generally speaking, what is dismissed as irrelevant (e.g. the realm of practices) is deliberately detached from what is thought to really matter; theory, discourse, content and meaning. Up till recently, backstage activities such as conservation practices are merely discussed among specialists and museum professionals. Only the outcomes of these discussions ...

Fine Arts Database (FAD)

Data.gov (United States)

General Services Administration — The Fine Arts Database records information on federally owned art in the control of the GSA; this includes the location, current condition and information on artists.

Locally-sourced: How climate science can collaborate with arts & humanities museums to achieve widespread public trust and communication

Science.gov (United States)

Walker, C. G.

2017-12-01

Local history, art and culture museums have a large role to play in climate science communication. Unfortunately, in our current society, scientific evidence and logic is not universally accepted as truth. These messages can be dispersed through trusted institutional allies like humanities and arts museums. There are many reasons for scientific institutions to work with humanities and arts museums of all sizes, especially local museums that have personal, trusted relationships with their communities. First, museums (by definition) are public educators; the work that they do is to disperse challenging information in an understandable way to a wide array of audiences. Museums are located in every state, with over 35,000 museums in the nation; 26% of those are located in rural areas. These museums serve every demographic and age range, inspiring even those with difficulty accepting climate change information to act. Second, in a recent public opinion survey commissioned by the American Alliance of Museums, museums - especially history museums - are considered the most trustworthy source of information in America, rated higher than newspapers, nonprofit researchers, the U.S. government, or academic researchers. Scientific institutions must collaborate with local museums to improve science communication going forward. Not only will important climate and sustainability research be dispersed via trusted sources, but the public will engage with this information in large numbers. In 2012 alone, over 850 million people visited museums - more than the attendance for all major league sports and theme parks combined. A recent impact study shows that history and art museums, especially, are not seen as "having a political agenda," with over 78% of the public seeing these museums as trusted institutions. There are many ways in which the scientific community can collaborate with "the arts." This presentation will speak to the larger benefit of working with sister arts & humanities

Demonstration of LED Retrofit Lamps at the Jordan Schnitzer Museum of Art

Energy Technology Data Exchange (ETDEWEB)

Miller, Naomi J.

2011-09-01

The Jordan Schnitzer Museum of Art in Eugene, Oregon, houses a remarkable permanent collection of Asian art and antiquities, modern art, and sculpture, and also hosts traveling exhibitions. In the winter and spring of 2011, a series of digital photographs by artist Chris Jordan, titled "Running the Numbers," was exhibited in the Coeta and Donald Barker Special Exhibitions Gallery. These works graphically illustrate waste (energy, money, health, consumer objects, etc.) in contemporary culture. The Bonneville Power Administration and the Eugene Water and Electricity Board provided a set of Cree 12W light-emitting diode (LED) PAR38 replacement lamps (Cree LRP38) for the museum to test for accent lighting in lieu of their standard Sylvania 90W PAR38 130V Narrow Flood lamps (which draw 78.9W at 120V). At the same time, the museum tested LED replacement lamps from three other manufacturers, and chose the Cree lamp as the most versatile and most appropriate color product for this exhibit. The lamps were installed for the opening of the show in January 2011. This report describes the process for the demonstration, the energy and economic results, and results of a survey of the museum staff and gallery visitors on four similar clusters of art lighted separately by four PAR38 lamps.

Fine-art gifted pupils in art classes

OpenAIRE

Vogrin, Oto

2011-01-01

Fine arts gift is an inborn quality yet the potential can easily be wasted if not developed. The development of a child’s gift is affected by his/her surroundings and conditions, adapted to an individual’s needs. Among the individual capabilities of fine arts gifted student our special attention goes to the ones which an individual uses to assimilate his/her experience and reactions to it, to visual memory, manual skills and aesthetic intelligence. They all enable us to determine aesthetic va...

Speaking absence. Art museums, representation and knowledge creation

NARCIS (Netherlands)

Tali, M.

2014-01-01

In my dissertation I investigate multiple absences that are at work in art museums. My understanding of absence is informed by postcolonial theory, gender studies and memory studies. Museal absence involves material and immaterial sides that are based on excluded objects and certain unwanted social

EXPERIENCE-BASED ART EDUCATI ON: HOW PREJUDICES ABOUT CONTEMPORARY ART CAN LEAD TO ENRICHED EDUCATION IN MUSEUMS

Directory of Open Access Journals (Sweden)

Eva Van MOER

2010-01-01

Full Text Available Every form of communication, even every culture , is depending on the interaction between expectation and perception. Every perception is related to anticipations and therefore to comparisons. What we understand or see is not simply a given, but is the product of past experiences and future expecta tions. When understanding fails, expectations become prejudices. A big stumbling-block in interpreting artworks in a museum of contemporary art is having confidence in the concept of multiple interpreta tions. Because contemporary art is characterised as ‘open-ended’, understanding does not always occur and viewers are confused or even disappointed. In this study we investigate the process of understanding contemporary art and focus especially on the formulation of prejudices during a museum visit. We underline that the prejudiced nature of understanding does not have to lead to negative or empty experiences but creates openness to future experiences. Prejudices send people back to re -inspect the initial experience. It is important to bring museum visitors to understand their own constructed meanings by reinvestigating their initial interpretation through inquiring. Museum educators should develop tools which allow visitors to position themselves and make them think from various contexts. This kind of education leads to enriched (reinte rpretation and experiences.

78 FR 72710 - Notice of Intent To Repatriate Cultural Items: Denver Art Museum, Denver, CO

Science.gov (United States)

2013-12-03

....R50000] Notice of Intent To Repatriate Cultural Items: Denver Art Museum, Denver, CO AGENCY: National Park Service, Interior. ACTION: Notice. SUMMARY: The Denver Art Museum, in consultation with the appropriate Indian tribes or Native Hawaiian organizations, has determined that the cultural items listed in...

Investigate and educate from the museum of contemporary art

Directory of Open Access Journals (Sweden)

Juan David Quintero Arbeláez

2011-01-01

Full Text Available This paper talks about the stake and lines of action in which the Museum of Contemporary Art of Uniminuto works regarding education and research. It presents the Museum as a promoter of experiences to stimulate the artistic and social development of the community. The text also mentions that these processes must be integrated with the real context of the community in order to have a great impact and challenge in their tasks. The intention with the community and the spreading of its heritage make part of an integral educational role of the museum. The most important tools from this project are the education and research in order to promote a sense of belonging, responsibility, own criteria and personal development in the community.

The Art of Perception: Museums Breaking Ground in Law Enforcement Training

Science.gov (United States)

Herman, Amy E.

2011-01-01

The Art of Perception is a professional development program that uses the analysis of works of art to help participants re-examine their responsibilities in various agencies of law enforcement, refresh their sense of inquiry, and reinvigorate the language they use to communicate on the job. "The Art of Perception: Museums Breaking Ground in Law…

The Variable and Changing Status of Performance Art Relics and Artifacts in Museum Collections

DEFF Research Database (Denmark)

Cone, Louise

2017-01-01

The status of an artwork in a museum collection is variable and contingent upon factors and parameters that are specific not only to the logic of the museum world but also to factors extrinsic to the museum. In particular older performance art 'relics' are subject to contextual interpretations...

Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions

Directory of Open Access Journals (Sweden)

Claus-Christian Carbon

2017-02-01

Full Text Available Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors (N = 225; 126 female, M(age = 43.3 years while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s (Mdn = 25.4 s. We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship (r2 = .929 between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m (M = 1.72 m. We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research (M = 50.5 s, Mdn = 43.0 s. Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.

Museums and art galleries as partners for public health interventions.

Science.gov (United States)

Camic, Paul M; Chatterjee, Helen J

2013-01-01

The majority of public health programmes are based in schools, places of employment and in community settings. Likewise, nearly all health-care interventions occur in clinics and hospitals. An underdeveloped area for public health-related planning that carries international implications is the cultural heritage sector, and specifically museums and art galleries. This paper presents a rationale for the use of museums and art galleries as sites for public health interventions and health promotion programmes through discussing the social role of these organisations in the health and well-being of the communities they serve. Recent research from several countries is reviewed and integrated into a proposed framework for future collaboration between cultural heritage, health-care and university sectors to further advance research, policy development and evidence-based practice.

Other People’s Stories: Bringing Public-Generated Photography into the Contemporary Art Museum

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Areti Galani

2013-07-01

Full Text Available Constituting the ‘defining other’ of art photography, amateur photographic practices have long been neglected or specifically excluded from official histories of photography. Even the term ‘amateur’ has historically been characterized by semantic ambiguity. In recent years, however, contemporary amateur photographs have been capturing the art curatorial imagination. This is often motivated by the institutional and political impetus to engage with personal, local stories, rather than official, national narratives alone. Amateur photographs, with their apparent rawness and immediacy may afford the art museum with a more credible record of ‘real life’ and enable the display of polyvocal narratives. Furthermore, the changing digital media landscape has opened up opportunities for art museums to reach new audiences through public-contributed content. In response to these developments, this article asks: How has amateur photography acquired a protagonist role in contemporary art museum displays? Drawing on contrasting case studies of exhibitions in the US and Europe, which have incorporated user-contributed photographic content in their displays, this article discusses how everyday photographic creativity and the raw materials of people’s stories serve as a means to interact with institutionally constructed histories of photography.

Museu de Artes e Ofícios, Belo Horizonte: afinal, como nascem os museus? Belo Horizonte's Museum of Arts and Trades: after all, how are museums born?

Directory of Open Access Journals (Sweden)

2005-01-01

Full Text Available Responsável pela concepção do projeto do Museu de Artes e Ofícios de Belo Horizonte, o museólogo francês Pierre Catel discorre sobre sua experiência profissional, iniciada na década de 1970. Discute conceitos de museus, a evolução da formação neste campo multidisciplinar. Sobre o projeto de museu a ser montado no metrô da capital de Minas Gerais, ele diz que seu objetivo é promover o encontro entre a cultura das profissões e peças de uma coleção de arte popular brasileira com cerca de um milhão de pessoas a caminho de casa ou do trabalho.Responsible for the concept behind Belo Horizonte's Museum of Arts and Trades project, the French museologist Pierre Catel talks about his professional experience, which began in the 1970s. He discusses museum concepts and the evolution and shaping of this multidisciplinary field. In regard to the museum that will be installed inside the subway of Minas Gerais' state capital, Catel says his aim is to foster an encounter between the culture of professions and pieces from a collection of popular Brazilian art, where around one million people pass by on their way to work or home.

The art of observation: impact of a family medicine and art museum partnership on student education.

Science.gov (United States)

Elder, Nancy C; Tobias, Barbara; Lucero-Criswell, Amber; Goldenhar, Linda

2006-06-01

Compared to verbal communication, teaching the skill of observation is often shortchanged in medical education. Through a family medicine-art museum collaboration, we developed an elective course for second-year medical students titled the "Art of Observation" (AOO). To evaluate the course's effect on clinical skills, we performed a qualitative evaluation of former students during their clinical rotations. In the spring of 2005, all students who had completed the AOO course in 2003 or 2004 were invited to take part in an online evaluation consisting of eight journaling survey questions. Students were instructed to answer the survey questions with specific examples. Question areas included the most memorable experience, the course's influence on the doctor-patient relationship, usefulness during clinical years of medical school, and skills unique to AOO. The anonymous data were analyzed qualitatively, coding the responses to categories derived from the data, leading to the formation of themes. Of the 19 students eligible, 17 participated. We found three important themes: (1) the AOO positively influenced clinical skills, (2) both art museum exercises and a clinical preceptorship were necessary to achieve those skills, and (3) the AOO led to a sense of personal development as a physician. In addition, students told us that the training in observation and description skills they learned were unique to the AOO. This collaboration between a department of family medicine and an art museum produced a course that facilitated observational skills used in successful doctor-patient relationships.

The Art of Copying: Five strategies for Transforming Originals in the Art Museum

Directory of Open Access Journals (Sweden)

Hans Dam Christensen

2017-09-01

Full Text Available This article discusses copies within the field of art museums by way of mapping strategies for copy practices. This mapping leans heavily towards parts of the wri-tings of Jacques Derrida (1930-2004. Against the backdrop of this theoretical premise, the article distinguishes five main strategies. Firstly, the copies which of-ten are considered to be typical museum copies, characterize the strategy for the disseminating relation between original and copy, that is, reproductions, magnets, etc. This strategy implies how copy practices are closely integrated into museum practices in general. Secondly, the supplementing relation between original and copy will be introduced. This strategy frames, for example, artists' citations of other works and forgeries. Both show that copy practices often lead to new originals, in principle, ad infinitum. Thirdly, this leads to the strategy for the displacing relation between original and copy which encompasses, for example, artistic reworkings of other artists' originals and conservatorial restorations. This approach partly ex-cludes the copy and partly displaces the original, while still, unavoidably, referring to the latter. In general, this strategy signifies the latent instability of the origi-nal. Fourthly, the strategy for the informational relation between original and copy will be discussed as it has a vital function in terms of talking about museum originals and copies. This is the strategy which grants the original artifacts their status as museum objects. An informational copy is just as unique as an original object of art, and at the same time, it defines the original and is itself defined by this opposition. Lastly, the strategy for the imagined relation between original and copy follows. This strategy is dependent upon several of the previous approaches, and, in addition, handles signs that exist without explicit originals, as the strategy covers copies referring to originals which have disappeared

Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions.

Science.gov (United States)

Carbon, Claus-Christian

2017-01-01

Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors ( N  = 225; 126 female, M (age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26-3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s ( Mdn  = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship ( r 2  = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m ( M  = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research ( M  = 50.5 s, Mdn  = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.

American Business Meets American Gothic: Professional Development in the Art Museum

Science.gov (United States)

Sullivan, Brendan; Morse, Annie

2011-01-01

Professional development in the art museum setting represents an opportunity for corporate and for-profit enterprises to enhance employees' skills in observation, creative thinking, teamwork, and sensitivity in diversity. Using original works of art as a point of departure for in-depth discussion of what appears as narrative content, participants…

Sacred and the Profane in Advertising Art.

Science.gov (United States)

Zuk, Bill; Dalton, Robert

This paper examines the arguments for and against inclusion of advertising art in art education programs, and presents a case for the educational benefits of critically examining advertising art based on museum masterpieces. A search for examples of fine art masterpieces used in advertising art examined which masterpieces are commonly used in…

Museums USA: Art, History, Science, and Other Museums.

Science.gov (United States)

National Endowment for the Arts, Washington, DC.

The results and analysis of an earlier museum survey, presented in "Museum U.S.A.: Highlights" (ED 093 777), are given in this document. The purpose is to present a comprehensive picture of museums in the United States--their numbers and locations, types and functions, facilities and finances, personnel and trustees, and activities and attendance.…

Museums and Philosophy--Of Art, and Many Other Things. Part 2.

OpenAIRE

Gaskell, Ivan

2012-01-01

This two-part article examines the very limited engagement by philosophers with museums, and proposes analysis under six headings: cultural variety, taxonomy, and epistemology in Part I, and teleology, ethics, and therapeutics and aesthetics in Part II. The article establishes that fundamental categories of museums established in the 19th century – of art, of anthropology, of history, of natural history, of science and technology – still persist. Among them, it distinguishes between hegemonic...

Arte Juntos/Art Together: Promoting School Readiness among Latino Children through Parent Engagement and Social Inclusion in a Suburban Museum

Directory of Open Access Journals (Sweden)

Zoila Tazi

2015-03-01

Full Text Available Census data reveal that suburban communities are becoming increasingly diverse. Once considered affluent and predictable places, American suburbs are now confronting increasing poverty rates as well as ethnic, racial and linguistic diversity. Currently, more than half of US Latinos live in the suburbs. Schools and public institutions such as museums are challenged to provide programming that meets the needs of Latinos, who are disproportionately poor (Ackerman and Tazi 2015:3. Promoting school readiness among Latino children is an important effort in maximizing the potential and educational attainment of this growing population. In one suburban community, a school-museum collaboration resulted in a bilingual parent-child program promoting school readiness and social inclusion for Latino families. Arte Juntos/Art Together engaged parents and children using art andculture-based activities that developed observation skills, creativity, critical thinking, vocabulary, and aesthetic appreciation. Celebrating diverse perspectives and self-expression, the program provided access to museums as enriching spaces for informal learning, personal empowerment and social inclusion

Exploring Classical Art at the Museum of Fine Arts, Boston.

Science.gov (United States)

Burchenal, Margaret; Foote, Allison

This resource packet is designed to help teachers incorporate the study of ancient Greek and Roman art into junior and senior high school classrooms. The packet consists of four curriculum units based upon aspects of classical life or culture. These units are: "Daily Life; Mythology"; "Images of Power"; and "Echoes of…

75 FR 58424 - Notice of Intent to Repatriate Cultural Items: Northwest Museum of Arts & Culture, Spokane, WA

Science.gov (United States)

2010-09-24

... Museum of Arts & Culture, aka Eastern Washington State Historical Society, Spokane, WA, that meet the definition of unassociated funerary objects under 25 U.S.C. 3001. This notice is published as part of the... Eastern Washington State Historical Society (now Northwest Museum of Arts & Culture), University of...

The art of scent

DEFF Research Database (Denmark)

Stenslund, Anette

2017-01-01

At the Museum of Art and Design in New York the The Art of Scent (1889–2012) exhibition announced its declared aim of bringing to the forefront of the arts what has long been considered the fallen angel of the senses: it would inscribe scent into fine art through a display characterised by its ex...... of art, this paper argues that scent that is not of high culture may yet, phenomenologically speaking, be considered great art....

Main Street as Art Museum: Metaphor and Teaching Strategies

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Vallance, Elizabeth

2007-01-01

A walk down Main Street can be very much like a stroll through a museum gallery--visually rich, inviting unexpected choices, aesthetically rewarding. This article explores the concept of shop windows as visually ordered compositions, much like paintings and other art objects, and suggests some approaches to applying this concept in teaching a…

The Museum of New Mexico and energy management

International Nuclear Information System (INIS)

Johnson, B.K.

1993-01-01

There are unique indoor conditioning and energy management challenges in museums. In Santa Fe, the Museum of New Mexico (MNM) is located in a unique climate and must stay within utility expenditure limits allocated through the State government budget process, while handling valuable collections with specific environmental requirements. Adequate humidity for indoor exhibitions is the top priority for heating, ventilating, and air-conditioning (HVAC) systems. Energy management systems (EMS) implemented by the Energy, Minerals and Natural Resources Department (EMNRD) in two MNM exhibition facilities avoid energy costs, but must be maintained regularly. Energy savings goals must yield priority in favor of maintaining proper indoor conditions. MNM is one of six Divisions within the State of New Mexico's Office of Cultural Affairs (OCA). The mission of OCA is to foster, preserve, and protect current and past expressions of culture and the arts, which are determined to be in the best interests of New Mexico. As a part of their mission, OCA is well-known for excellence in cultural collections, through MNM. MNM is comprised of the Museum of Fine Arts Museum of Southwest History Museum of International Folk Art Laboratory of Anthropology Museum of Indian Arts and Culture. There are eight separate physical facilities that house these operations, including administration. Behind the scenes, there are operational costs that must be managed carefully; the costs of heating, cooling, arid lighting the buildings that MNM uses are a part of this. EMNRD has assisted OCA in meeting its mission through the expertise of the Energy Conservation and Management Division (ECMD). ECMD is designated by the Governor as the State Energy Manager agency

Towards gloss control in fine art reproduction

Science.gov (United States)

Baar, Teun; Brettel, Hans; Ortiz Segovia, Maria V.

2015-03-01

The studies regarding fine art reproduction mainly focus on the accuracy of colour and the recreation of surface texture properties. Since reflection properties other than colour are neglected, important details of the artwork are lost. For instance, gloss properties, often characteristic to painters and particular movements in the history of art, are not well reproduced. The inadequate reproduction of the different gloss levels of a piece of fine art leads to a specular reflection mismatch in printed copies with respect to the original works that affects the perceptual quality of the printout. We used different print parameters of a 3D high resolution printing setup to control the gloss level on a printout locally. Our method can be used to control gloss automatically and in crucial applications such as fine art reproduction.

Fine Arts Standards of Learning for Virginia Public Schools

Science.gov (United States)

Virginia Department of Education, 2006

2006-01-01

The Fine Arts Standards of Learning in this publication represent a major development in public education in Virginia, emphasizing the importance of instruction in the fine arts (dance arts, music, theatre arts, and visual arts) as an important part of Virginia's efforts to provide challenging educational programs in the public schools. Knowledge…

Eternal Egypt: Masterworks of Ancient Art from the British Museum. Learning from Exhibitions.

Science.gov (United States)

Johnson, Mark M.

2001-01-01

Introduces the exhibition "Eternal Egypt: Masterworks of Ancient Art from the British Museum" that explores the four major periods of Egyptian history. Provides background information on ancient Egypt and describes the art that was present in each of the four kingdoms. (CMK)

Mobile Learning and Art Museums: A Case Study of a New Art Interpretation Approach for Visitor Engagement through Mobile Media

Science.gov (United States)

Benito, Victoria López

2014-01-01

Nowadays Mobile technologies in Museums and especially in Art Museums are a popular way of communication with their audiences. These kinds of technologies have a high communicative potential and also could be a tool for marketing, information, engagement and learning as well. However with regards how these resources explain the meaning of works of…

Children Ask Questions about West African Art.

Science.gov (United States)

Abercrombie, Denice; Cochran, Mathilda; Mims, Margaret

1997-01-01

Presents a collection of questions that fifth-grade students asked about African artwork and answers provided by staff from the Museum of Fine Arts in Houston, Texas. Observes that students' interest in important visual aspects of the art creates lead-ins to more detailed discussions of West African art and culture. (DSK)

Radiology and fine art.

Science.gov (United States)

Marinković, Slobodan; Stošić-Opinćal, Tatjana; Tomić, Oliver

2012-07-01

The radiologic aesthetics of some body parts and internal organs have inspired certain artists to create specific works of art. Our aim was to describe the link between radiology and fine art. We explored 13,625 artworks in the literature produced by 2049 artists and found several thousand photographs in an online image search. The examination revealed 271 radiologic artworks (1.99%) created by 59 artists (2.88%) who mainly applied radiography, sonography, CT, and MRI. Some authors produced radiologic artistic photographs, and others used radiologic images to create artful compositions, specific sculptures, or digital works. Many radiologic artworks have symbolic, metaphoric, or conceptual connotations. Radiology is clearly becoming an original and important field of modern art.

Art for Whose Sake? Modern Art Museums and their Role in Transforming Societies: The Case of the Guggenheim Bilbao

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Evdoxia Baniotopoulou

2001-11-01

Full Text Available In the past two decades the industrial decline of many western economies has forced them to turn towards the tertiary sector in order to diversify their infrastructure and find new sources of income. One of the characteristics of this process was the development of urban regeneration plans, which recognised the potential of the cultural sector for economic development. Central to this approach was the use of modern art museums as magnets for tourism and inward investment. This practice has produced a number of examples, the most famous being the Guggenheim Bilbao. The phenomenal success of this museum has caused it to become a model and this is why it ought to be examined critically. The creation of the museum is initially considered in the framework of particular historical and political circumstances. It is then placed in the context of the local cultural policy, a combination of theory and local political aspirations. The involvement of the external factor – the Guggenheim Foundation – is considered next, followed by an assessment of the museum in both quantifiable and non-quantifiable terms. Lastly, the preference shown in modern art museums to play this role is discussed. It is concluded that the Guggenheim Bilbao is the outcome of special political and socioeconomic circumstances, which renders it a unique case that should not be replicated uncritically.

THE MUSEUM OF FINE ARTS OF ASTURIAS AS AN EDUCATIONAL RESOURCE FROM A GENDER PERSPECTIVE

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Ángel de la Fuente Martínez

2016-07-01

Full Text Available The museum as an educational resource is a proposal to make teachers reflect on the availability of media in the near environment regardless of the distance from the school to the museum. This gallery can work the general objectives in different educational stages, knowing the enhancement of historic buildings for activities of this type, the key work skills and promote the presence of women within the museum as an icon through different themes and artist. Our goal is to recover in perspective the presence of women sharing the same space and time with the man. The analysis of the trades, real social division of labor that this prefixed men do, that women, allows us to better understand the evolution of society. On the other hand, the postponement of the woman as artist, being supplanted by other painters, see Sofonisba Anguissola, it is another area in which it affects this article. Finally, different museums in which the woman is the protagonist in our country as an initiative to regain the role that women have played throughout the spatial and temporal coordinates, which are defining the development of the actions listed beings humans.

A study of grandparents and grandchildren as visitors to museums and art galleries in the UK

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Ela Beaumont

2005-11-01

Full Text Available This paper discusses one aspect of a major research project funded by the Arts and Humanities Research Council of family group visitors to museums and galleries in the UK. Grandparents visiting with their grandchildren are a little understood phenomenon in terms of visitor research and this paper aims to address that balance. The research project focuses on three art galleries and museums in the UK where 44 sets of grandparents were interviewed during the initial stages of the research. Findings have shown a number of interesting facets, some of which are presented in this paper. Grandparents are motivated to visit the museum with their grandchildren in the main because they are seeking an entertaining visit, a day out that is also educational and linked to school projects. They are likely to be the children’s primary carers as parents are out to work and the destination might not link with their own interests but those of the parents. They have social roles to play in their grandchildren’s lives. They often seek activity or workshops in the museum/art gallery that will be of benefit for their grandchildren and encourage them to explore the activities provided. These and other aspects are discussed within the paper. We conclude by suggesting how the findings can be used to inform more sophisticated approaches to ‘family friendly’ initiatives in museums and art galleries.

Legacy of the Ancient World: An Educational Guide. Understanding Ancient Culture through Art at the Tampa Museum of Art.

Science.gov (United States)

Whitelaw, R. Lynn

Among the many contributions made by Ancient Greeks and Romans to contemporary life, are those which influence art, architecture, literature, philosophy, mathematics and science, theater, athletics, religion, and the founding of democracy. The Tampa Museum of Art's classical collection offers a unique opportunity to learn about Ancient Greeks and…

Integrated Conservation of the Cantonese Opera Art Museum and Intangible Cultural Heritage

Directory of Open Access Journals (Sweden)

Q. Guo

2015-08-01

Full Text Available Cantonese Opera, as the sole cultural heritage of Guangdong Province of China so far, which was included in the World Intangible Cultural Heritage List by the UNESCO, bears the cultural memory of the Lingnan region and as well as the overseas Chinese worldwide. Located in the core historic urban area – Enning Road of Guangzhou, the Cantonese Opera Art Museum is designed in Lingnan traditional garden manner, through going deep into the Cantonese opera culture, Lingnan traditional garden culture and Lingnan cultural spirit. The design highlights the integrated conservation of tangible and intangible cultural heritage, to protect living history and build the historical environment and place spirit for the intangible cultural heritage. The Cantonese Opera Art Museum is not only a tangible space for exhibition, study, education and display of the Cantonese Opera art, but also a cultural space with the Lingnan cultural memory, gathering the Lingnan intangible heritage and closely linked with current life of successors and ordinary people.

TOWARDS A VIRTUAL MUSEUM OF PUBLIC ART AND URBAN DESIGN

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Antoni Remesar

2008-10-01

Full Text Available This article comes from the communication that the authors presented at the International Seminar on “Public Art and Urban Design” held in Almada (Portugal in 2006 and later in Barcelona, 2007. Through a series of questions, the authors raise the issues of production, management and dissemination of public art in the context of Urban Design. These questions arise from the analysis carried out on a series of manuals of “good practice” disseminated by several municipalities and public agencies devoted to the Public Art. Finally, the authors outline the open possibilities for a Virtual Museum of Public Art and Urban Design, based on the existence of Public Art Information Systems that have cities like Barcelona and Saragossa and that are being developed in Lisbon and Almada

Enhancing User Experience through Emotional Interaction: Determining Users' Interests in Online Art Collections Using AMARA (Affective Museum of Art Resource Agent)

Science.gov (United States)

Park, S. Joon

2013-01-01

The need for emotional interaction has already influenced various disciplines and industries, and online museums represent a domain where providing emotional interactions could have a significant impact. Today, online museums lack the appropriate affective and hedonic values necessary to engage art enthusiasts on an emotional level. To address…

The Effects of a Museum Art Program on the Self-Concept of Children

Science.gov (United States)

Kaufman, Ryan; Rinehardt, Eric; Hine, Hank; Wilkinson, Berney; Tush, Peter; Mead, Bethany; Fernandez, Francisco

2014-01-01

Research suggests that art programs have positive therapeutic effects on children, including improved self-concept. This pretest/posttest intervention study examined changes in self-concept in children (N = 176) who participated in an art program at the Dalí Museum in St. Petersburg, Florida. Results indicated significant, positive increases in…

Data and interpretation: enhancing conservation of art and cultural heritage through collaboration between scientist, conservator, and art historian

International Nuclear Information System (INIS)

Huang, Jo-Fan

2012-01-01

Conservation practices can be greatly enhanced and influenced by scientific analysis and art historical insights. In the same respect, scientific data can be contextualized and substantiated by findings from visual examination and historical research. Such collaboration can contribute to the field of conservation in multiple ways: by assisting the conservator to investigate treatment options, discover artists' materials and techniques, determine date of manufacture, and investigate conservation treatment materials. Several technical studies conducted by the author and her collaborators employed micro-x-ray fluorescence (μ-XRF), Raman Spectroscopy, Fourier-transform infrared spectrometry (FTIR), and scanning electron microscopy with energy dispersive x-ray spectroscopy (SEM-EDS) and polarized light microscopy (PLM). These techniques were used on the following previously published projects such as a Japanese painting at the Museum of Fine Arts at Boston, Thai manuscripts at the Arthur M. Sackler Museum at Harvard University, and Chinese export paintings on pith at the Winterthur Museum. Although these studies have been published in the past, they are worthy examples to illustrate how collaborations between conservator, scientist, and art historian complement one another. This presentation will also touch upon ethics in sampling of fine art materials and several online databases such as Infrared and Raman User Group (IRUG) and Conservation and Art Materials Encyclopedia Online (CAMEO), which have proven to be very helpful in the field of conservation.

Inefficiency in the market for 'Fine Art': how this market inefficiency promotes 'Art Tourism' in South Africa

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Peter Baur

2014-01-01

Full Text Available The market for 'Fine Art' is dominated by institutions and auction houses. These act as gatekeepers by monopolising the primary market. The choice of art as an investment vehicle is based on a combination of expected return and subjective preference. The reason for investing in 'Fine Art' is more than purely for financial gain. There are other more intrinsic factors that are considered as part of the investor decision-making process. This market for 'Fine Art' can be considered largely inefficient. Exclusivity, high prices, institutional based indexes and the overall lack of information are by far the greatest drivers of this market inefficiency. 'Art' prices are usually set in the primary market for 'Fine Art' through the auction process and the auction process should also typically reflect an efficient way of creating shared value. However, the auction process in the primary art market is not efficient and does not create shared value as would occur in a typical free market structure. The systems employed by the auction process in the primary art market is a strategy in itself, giving the impression that there is shared value, and thus distorting prices while simultaneously stimulating investor confidence. This becomes apparent when the price for 'Fine Art' does not necessarily reflect the 'true' value of the respective 'Fine Art' being sold. Thus investors may take advantage of this situation, by traveling across international borders to purchase what they would consider valuable art. In effect, art tourism is driven by market inefficiency in the 'Fine Art' market.

36 CFR 401.6 - Approval by National Commission of Fine Arts.

Science.gov (United States)

2010-07-01

... Commission of Fine Arts. 401.6 Section 401.6 Parks, Forests, and Public Property AMERICAN BATTLE MONUMENTS COMMISSION MONUMENTS AND MEMORIALS § 401.6 Approval by National Commission of Fine Arts. A design for a... Commission of Fine Arts before the Commission can accept it. ...

Effects of Art/Design Education on Meta-Esthetics Consciousness of Fine Arts Students

Science.gov (United States)

Tataroglu, Eylem

2015-01-01

The objectives of the present study were to determine the consciousness and sensitivity levels of Fine Arts students about the meta-esthetics as a consumer and producer and to determine the effects of the courses they took on their meta-esthetic consciousness. The research universe was composed of fine art faculties of the foundation universities…

The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process

Directory of Open Access Journals (Sweden)

Kirsten Jensen

2015-07-01

Full Text Available Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.

Museums and Their Enemies.

Science.gov (United States)

Haskell, Francis

1985-01-01

Since the eighteenth century, both artists and art historians have received educational benefits from public art museums. The main function of public museums, however, has usually been the improvement or refinement of public taste. But in addition to education and pleasure, another museum objective is that of moral improvement. (RM)

Objects of utility: cultural responses to industrial collections in municipal museums 1845-1914

Directory of Open Access Journals (Sweden)

Robert Snape

2010-03-01

Full Text Available Between 1845 and 1914 several municipal museums in Great Britain established an industrial collection of objects relevant to local manufacture. The origins of these collections are found in the 1830s and the reform of design education. Industrial collections assigned an economic function to museums and were contested by critics who maintained that museums should be concerned primarily with fine rather than applied art. It is argued that curatorial decisions on the adoption of industrial collections can be evaluated with reference to contemporary debates on art, design education and the relative values of liberal and applied knowledge. Through case studies of the municipal museums of Birmingham and Preston, this paper assesses contrasting curatorial responses to industrial collections. Adopting Matthew Arnold’s categories of Hebraism and Hellenism as an exploratory framework, it concludes that industrial collections represented materialistic values associated with Hebraism that were directly opposed to the spiritual values associated with Hellenism.

PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015

Directory of Open Access Journals (Sweden)

Teresa Grzybkowska

2017-02-01

. Wielecki. He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.

Subjugated in the Creative Industries The Fine Arts in Singapore

DEFF Research Database (Denmark)

Ooi, Can-Seng

2011-01-01

to economic value. Fine arts practices will not be as lucrative or popular as their counterparts in the other creative businesses; they will remain poor cousins in the creative industries. Essentially, the fine arts are being subjugated in the creative industries and the Singaporean art world is being changed....

Environmental monitoring in four European museums

Science.gov (United States)

Camuffo, Dario; Van Grieken, Rene; Busse, Hans-Jürgen; Sturaro, Giovanni; Valentino, Antonio; Bernardi, Adriana; Blades, Nigel; Shooter, David; Gysels, Kristin; Deutsch, Felix; Wieser, Monika; Kim, Oliver; Ulrych, Ursula

In a European multidisciplinary research project concerning environmental diagnostics, museums have been selected, having different climate and pollution conditions, i.e.: Correr Museum, Venice (Italy); Kunsthistorisches Museum, Vienna (Austria); Royal Museum of Fine Arts, Antwerp (Belgium); Sainsbury Centre for Visual Arts, Norwich (UK). Some field tests investigated the microclimate, the gaseous and particulate air pollution and the biological contamination to suggest mitigative techniques that may reduce the potential for damage in the long run. Potential risk factors are generated by imbalance in temperature and humidity, generated by heating, air conditioning or ventilating system (HVAC), or the building structures, exchange of outside air, or large visitor numbers. HVAC may also enhance indoor gaseous pollution. Plants and carpets represent potential niches for bacterial colonisation. Pollutants and particles have been recognised having partly external and partly internal origin. Tourism has a direct negative impact, i.e. transport of external particles, release of heat, vapour and CO 2, as well as generation of turbulence, which increases the deposition rate of particulate matter. However, the main problem is that the microclimate has been planned for the well being of visitors during only the visiting time, disregarding the needs of conservation that requires a constant climate by day and by night. In some of these cases, better environmental niches have been obtained with the help of showcases. In other cases, showcases worsened the situation, especially when incandescent lamps were put inside.

Impact of WOWW's Fine Arts Enriched Education Programming

Science.gov (United States)

Sharp, Laurie A.; Tiegs, Ali

2018-01-01

Learning through the fine arts possesses many benefits, yet efforts to address the arts within public schools, particularly rural schools, are insufficient. In an effort to support rural public schools in Texas, Window On a Wider World (WOWW) began providing fine arts enriched education programming in 2006 to area partner schools that serve…

The potential of space exploration for the fine arts

Science.gov (United States)

Mclaughlin, William I.

1993-01-01

Art provides an integrating function between the 'upper' and 'lower' centers of the human psyche. The nature of this function can be made more specific through the triune model of the brain. The evolution of the fine arts - painting, drawing, architecture, sculpture, literature, music, dance, and drama, plus cinema and mathematics-as-a-fine-art - are examined in the context of their probable stimulations by space exploration: near term and long term.

Museum Studies: Connecting the Elementary and Secondary Experience

Science.gov (United States)

Martin, Kachina; Yoder, Maureen

2009-01-01

Museum studies will certainly reinforce students' appreciation of art history and art production. A student's understanding of a museum's function will deepen with each museum visit. Students will recognize that a museum can be organized around materials and kinds of art, periods of art history and cultures, and the works of an individual artist.…

Lifelong learning for active ageing in nordic museums; archives and street art

DEFF Research Database (Denmark)

Fristrup, Tine; Grut, Sara

2016-01-01

to lifelong learning as a way to conceptualise activities for older adults’ in museums, as we emphasise an approach to adult education for active ageing articulated as ‘lifelong learning for active ageing’. To illustrate this framing, we outline a number of activities taken from publications, cultural sites...... and conferences in which we have been involved over the last decade in the context of the Nordic Centre of Heritage Learning and Creativity in Östersund, Sweden. We argue that lifelong learning for active ageing in cultural heritage institutions can contribute to the development of older adults’ civic......In this article, we develop a framework that demonstrates how older adults need to develop diverse capabilities in relation to their educational life course through engagements in Nordic museums, archives and street art activities. We discuss how European museums have taken up UNESCO’s approach...

When a Body Meets a Body: An Exploration of the Negative Impact of Social Interactions on Museum Experiences of Art

Science.gov (United States)

Pelowski, Matthew; Liu, Tao; Palacios, Victor; Akiba, Fuminori

2014-01-01

We consider the phenomenon of social interactions within the art museum, arguing that even the bare possibility of meeting others or intruding into their gaze can have a profoundly detrimental effect on art experience. This is done by tracing a finding from our previous studies in which we considered three museum galleries--each with the same…

Triumphs Show: What Makes Art History? Year 7 Exploit the Resources of the Victoria and Albert Museum's Medieval Gallery to Create and Curate Their Own Answer

Science.gov (United States)

Copsey, Sarah

2014-01-01

What do 14 Year 7 students, an art teacher, a history teacher and the Victoria and Albert Museum have in common? They are all part of the "Stronger Together" Museum Champion project run by The Langley Academy and the River & Rowing Museum and supported by Arts Council England, designed to engage students, teachers and museum staff…

Authentication at a small museum: the kindness of strangers

Science.gov (United States)

Hyland, Douglas K. S.

2000-03-01

Over the last twenty years, I have served as curator and director of several small and medium size museums including the Helen Foresman Spencer Museum of Art, University of Kansas, Lawrence, Kansas; the Memphis Brooks Museum of Art, Memphis, Tennessee; the Birmingham Museum of Art, Birmingham, Alabama; the San Antonio Museum of Art, San Antonio, Texas, and most recently, the Fuller Museum of Art, Brockton, Massachusetts. The largest budget approached three million dollars, minute in comparison with the Metropolitan Museum of Art of the National Gallery. Our resources were limited and the demands of building maintenance, programs, acquisitions and conservation far outstripped the amount of money available to be spent. Each museum housed between five and thirty thousand art works and generally speaking the collections were eclectic. It is not unusual at these city museums to find extraordinary oddities ranging from the finest Wedgwood collection in the world in Birmingham to the most extensive group of Latin American folk art objects to be found anywhere in San Antonio. Each year museums of comparable size are offered thousands of art works on all shapes and sizes form all periods and cultures. Only rarely does the staff have the expertise to evaluate and determine the authenticity of the eclectic group of objects both in the collection and being offered. With few curators and in many cases even fewer local experts to call upon, the museum professional must be both bold and creative.

Improving Novice Radiology Trainees' Perception Using Fine Art.

Science.gov (United States)

Goodman, Thomas Rob; Kelleher, Michael

2017-10-01

To determine if fine art perception training improved performance in novice radiology trainees. On the first day of their residency, 15 radiology residents underwent a basic radiology perception test in which they were shown 15 different radiographs that each had a significant abnormality. This was followed by a focused session of interpretation training at a local art gallery where art experts taught the trainees how to thoroughly analyze a painting. After this fine art session, the residents were once again shown 15 different radiographs and asked, in the same manner as before, to identify the location of the abnormality. The results of both radiograph assessments were then compared. The 15 residents correctly identified the areas of abnormality on 35 of 225 cases pre-art training with a mean score of 2.33 and a SD of 1.4. After art training, the figure for correctly identifying the area of abnormality rose to 94 of 225 cases with a mean score of 6.27 and a SD of 1.79 (P art gallery may be a novel, effective transitional starting point for novice radiology trainees. Copyright © 2017. Published by Elsevier Inc.

Foundations for College and Beyond: Looking Back on AP Art History

Science.gov (United States)

Schoenbohm, Laurel

2013-01-01

It was years after this author's AP Art History course in high school, and two years after college. She and some friends decided to fill a day during the Thanksgiving visits appreciating fine art. Prior to that AP course her senior year of high school, touring an art museum had seemed like the equivalent of going to the dentist. But after…

Art museum-based intervention to promote emotional well-being and improve quality of life in people with dementia: The ARTEMIS project.

Science.gov (United States)

Schall, Arthur; Tesky, Valentina A; Adams, Ann-Katrin; Pantel, Johannes

2017-01-01

ARTEMIS (ART Encounters: Museum Intervention Study) is an art-based intervention designed especially for people with dementia and their care partners that involves a combination of museum visits and artistic activity. This paper reports the results of a randomized wait-list controlled study on the influence of the ARTEMIS intervention on the emotional state, well-being, and quality of life of dementia patients. People with mild-to-moderate dementia (n = 44) and their care partners (n = 44) visited the Frankfurt Städel Museum once a week on six pre-arranged occasions. The intervention consisted of six different guided art tours (60 minutes), followed by art-making in the studio (60 minutes). Independent museum visits served as a control condition. A mixed-methods design was used to assess several outcomes including cognitive status, emotional well-being, self-rated aspects of quality of life, and subjective evaluations by informal caregivers. In a pre-post-assessment, we found significant improvements in participants' self-rated quality of life (t = -3.15, p life in people with dementia. This promising psychosocial approach deserves further attention in future studies and consideration in community-based dementia care programs.

An Artistic Approach to Fine Arts Interpretation in Higher Education

Science.gov (United States)

Selan, Jurij

2013-01-01

Art criticism was introduced into art education to help students understand works of art. However, art interpretation methods differ according to the educational goals specified for various types of art students. The fine arts interpretation procedures established in education are usually purely theoretical and exclusively verbal, and are thus…

Enhancing Science Literacy and Art History Engagement at Princeton Through Collaboration Between the University Art Museum and the Council on Science and Technology

Science.gov (United States)

Riihimaki, C. A.; White, V. M.

2016-12-01

The importance of innovative science education for social science and humanities students is often under-appreciated by science departments, because these students typically do not take science courses beyond general education requirements, nor do they contribute to faculty research programs. However, these students are vitally important in society—for example as business leaders or consultants, and especially as voters. In these roles, they will be confronted with decisions related to science in their professional and personal lives. The Council on Science and Technology at Princeton University aims to fill this education gap by developing and supporting innovative programs that bring science to cross-disciplinary audiences. One of our most fruitful collaborations has been with the Princeton University Art Museum, which has an encyclopedic collection of over 92,000 works of art, ranging from antiquity to the contemporary. Our work includes 1) bringing introductory environmental science courses to the Museum to explore how original works of art of different ages can serve as paleo-environmental proxies, thereby providing a means for discussing broader concepts in development of proxies and validation of reconstructions; 2) sponsoring a panel aimed at the general public and composed of science faculty and art historians who discussed the scientific and art historical contexts behind Albert Bierstadt's Mount Adams, Washington, 1875 (oil on canvas, gift of Mrs. Jacob N. Beam, accession number y1940-430), including the landscape's subjects, materials, technique, and style; and 3) collaborating on an installation of photographs relevant to a freshman GIS course, with an essay about the artwork written by the students. This first-hand study of works of art encourages critical thinking and an empathetic approach to different historical periods and cultures, as well as to the environment. Our collaboration additionally provides an opportunity to engage more students in

Arts in Higher Education: an evaluation of Fine Arts research activity in Spain through quality indicators

Directory of Open Access Journals (Sweden)

Raquel Caerols Mateo

2017-11-01

Full Text Available The long-standing conflict between research evaluation standards and the fine arts dates from the transformation of the former schools of fine arts into bachelor’s degree programs. The origin of the conflict is epistemological in nature and has consequences at both the academic and curricular level. The quality indicators for evaluating professors are the central issue of this problem still to be solved. Although current systems of evaluation cover both the production of scientific publications as part of traditional research and the artistic creation itself, academics in the fine arts note that deficiencies exist in the assessment of both these aspects.The focus of this paper is primarily on the study of the main national and international databases in the arts, in order to assess their validity as quality indicators for the scholarly output of academics.

An Art Museum in the Interest of Publicness: A Discussion of Educational Strategies at Tate Exchange

Science.gov (United States)

Christensen-Scheel, Boel

2018-01-01

Influenced by needs to legitimise large collections and the position as public institutions, art museums today are searching to develop rigorous public strategies in order to increase numbers of visitors and public impact. Education is part of those strategies, and the need to discuss art education in relation to publicness and criticality arises.…

Orientalist Imaginations and Touristification of Museums

DEFF Research Database (Denmark)

Ooi, Can-Seng

2005-01-01

This paper draws inspiration from Edward Said's orientalism, and examines how the three National Museums of Singapore - the Singapore History Museum, the Singapore Art Museum and the Asian Civilizations Museums - are orientalized. The process is mediated through the museums' close links to touris...

Raising private investment funds for museums

NARCIS (Netherlands)

van der Burg, Tsjalle; Dolfsma, W.; Wilderom, Celeste P.M.

2004-01-01

The authors propose the notion of an "arts fund", a publicly traded investment fund for the purpose of acquiring increasingly costly art works to be displayed in museums. Public as well as private museums stand to benefit greatly from such an approach to financially supporting the arts. A

"Mother's Musuem": The Emancipation of Abby Aldrich Rockefeller through Modern Art Matronage and Museum Building

OpenAIRE

Condas, Jennifer L.

2014-01-01

So much of the time, the significance of non-artists in making modern art possible is all too rarely acknowledged, and Abby Aldrich Rockefeller is no exception. The crucial role Abby played and the obstacles she overcame are significant, and my research considers the far-reaching impact she had on the institutionalization and legitimization of modern art in New York in the 1920s and 1930s. Without her involvement, New York's premier museum for Post-Impressionist, progressive, and modern art,...

The Benefits of Fine Art Integration into Mathematics in Primary School

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Anja Brezovnik

2015-09-01

Full Text Available The main purpose of the article is to research the effects of the integration of fine art content into mathematics on students at the primary school level. The theoretical part consists of the definition of arts integration into education, a discussion of the developmental process of creative mathematical thinking, an explanation of the position of art and mathematics in education today, and a summary of the benefits of arts integration and its positive effects on students. The empirical part reports on the findings of a pedagogical experiment involving two different ways of teaching fifth-grade students: the control group was taught mathematics in a traditional way, while the experimental group was taught with the integration of fine art content into the mathematics lessons. At the end of the teaching periods, four mathematics tests were administered in order to determine the difference in knowledge between the control group and the experimental group. The results of our study confirmed the hypotheses, as we found positive effects of fine art integration into mathematics, with the experimental group achieving higher marks in the mathematics tests than the control group. Our results are consistent with the findings of previous research and studies, which have demonstrated and confirmed that long-term participation in fine art activities offers advantages related to mathematical reasoning, such as intrinsic motivation, visual imagination and reflection on how to generate creative ideas.

Why Does the Buddha Have Long Ears? A North Carolina Museum Educator Invites Students To Explore Religious Diversity through Art.

Science.gov (United States)

Bullard, Sara

1998-01-01

Describes the Five Faiths Project, a children's program of storytelling, photography workshops, museum exhibits, classroom projects, and community performances developed by the curator of education of the Ackland Art Museum at the University of North Carolina. Activities, which have focused on Hinduism and Judaism so far, will eventually explore…

Fine Arts as Means for Studying Media History

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Tereza Ježková

2015-09-01

Full Text Available Studying art as a manifestation of cultural memory can help us understand both collective and individual identities. Specific works of art can give us a sense of the artist while the content can also present a more general theme or social issue of a given era. Considering the number of artworks that reference (either as a major or minor topical element mass communication, media seems to be a feasible theme. The topic of media and its specific appearances has varied significantly throughout the history of both art and media. The aim of this paper is to introduce a unique analysis that combines artworks that display the use of mass communication in Czech fine arts. The collected items were the subject of an interdisciplinary analysis – both historical and semiotic. So far, the relationship between media and art has not been explored within Czech media studies. Finding the connection between fine arts and the media can broaden the horizons of historical and social sciences. Representation of media by art points to the importance of media in any given historical period. Some examples can clearly show us how media were produced and consumed, as well as, in the later periods, used as a material for the creation or the art itself. The objective of this paper is to show the perspectives and limits of art as a source of knowledge about cultural memory and advantages and disadvantages of combining historical and semiotic analyses as applied to specific artworks.

Revisioning Premodern Fine Art as Popular Visual Culture

Science.gov (United States)

Duncum, Paul

2014-01-01

Employing the concept of a rhetoric of emotions, European Premodern fine art is revisioned as popular culture. From ancient times, the rhetoric of emotion was one of the principle concepts informing the theory and practice of all forms of European cultural production, including the visual arts, until it was gradually displaced during the 1700s and…

The Spiritual Form of Ancient Art and Culture - Bharatanatyam (Visual Art Depicted Using Unique Techniques on Scratchboard (Fine Art Medium

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Arpitha Parthasarathy

2017-03-01

Full Text Available The most ancient form of dance that is prevailing todays is a form of classical Indian dance, Bharatanatyam. In Sanskrit (and Devanagri, bharatanatyam means "Indian dance", is believed to have divine origin and is of the most ancient form of classical dance. Bharatanatyam is a two thousand-year-old dance form, originally practiced in the temples of ancient India. The art today remains purely devotional even today and this performing art is yet to gain awareness and interest in the western world. This dance form has various implications in improving the higher order thinking in children and provides health benefits in adults apart from cultural preservation. The current study uses scratchboard as a medium to display the artistic movements and emotions. Scratchboard, a fine art is one means by which the visual art is expressed in this current study using sharp tools, namely X-acto 11 scalpel and tattoo needles. This unique medium made up of a masonite hardboard coated with soft clay and Indian ink has been used to not only show the details of the ancient dance form and expression but also to comprehend and transcribe both visual art and fine art. It is for the first time that scratchboard medium has been the innovatively used to show various textures of flower, glistening gold jewels, hand woven silk and the divine expression in the same art ‘devotion’. The current study was carried out in-order to perpetuate, conserve and disseminate these classic forms of visual art and fine art.

REAL MUSEUM, IMAGINARY MUSEUM: REFLECTIONS ON THE CONCEPT OF THE MUSEUM AS A STAGE FOR METAMORPHOSIS = MUSEO REAL, MUSEO IMAGINARIO: REFLEXIONES EN TORNO AL CONCEPTO DE MUSEO COMO ESCENARIO DE METAMORFOSIS

Directory of Open Access Journals (Sweden)

Elena Marcén Guillén

2014-02-01

Full Text Available Ever since its inception as public institution in the 18th century, the museum has favoured several interpretations of the work of art, alterations that imply both a change in its semantic and a revision of the very same concept of art. These metamorphoses take place not only within the confined walls of the traditional museum but also in many wall-less museums. Approaches such as the imaginary museum, virtual and endless repertoire of pieces of art, open countless perspectives to how the museums are perceived as containers of the western memory. This paper focuses on the role of the museum as metamorphosis scenery through the thoughts of artists, writers and intellectuals that have felt attracted to this question since the dawn of the museum.Desde sus inicios como institución pública en el siglo XVIII, el museo ha propiciado diversas interpretaciones de la obra de arte, que entrañan tanto un cambio en la semántica del objeto artístico como una revisión del concepto mismo de arte. Estas metamorfosis se producen no solo en el ámbito físico del museo tradicional sino también en las múltiples variedades del museo sin muros. Planteamientos como el del museo imaginario, repertorio virtual e inacabable de obras de arte, abren innumerables perspectivas en lo que se refiere a la institución museística como receptáculo de la memoria occidental. El presente artículo plantea un recorrido por el papel del museo como escenario de metamorfosis a través de las reflexiones de artistas, literatos e intelectuales que se han sentido atraídos por esta sugerente cuestión desde los albores de la institución museística.

78 FR 45964 - Notice of Intent To Repatriate Cultural Items: Monterey Museum of Art, Monterey, CA

Science.gov (United States)

2013-07-30

... projectile points, 38 pendants or beads, 3 fire-starters, 4 hand tools, 6 fishing weights, 37 carvings, 1... stone. In the 1978 Deed of Gift to the Monterey Museum of Art, Mr. Holman notes that the objects were...

Statistical Image Properties in Large Subsets of Traditional Art, Bad Art, and Abstract Art.

Science.gov (United States)

Redies, Christoph; Brachmann, Anselm

2017-01-01

Several statistical image properties have been associated with large subsets of traditional visual artworks. Here, we investigate some of these properties in three categories of art that differ in artistic claim and prestige: (1) Traditional art of different cultural origin from established museums and art collections (oil paintings and graphic art of Western provenance, Islamic book illustration and Chinese paintings), (2) Bad Art from two museums that collect contemporary artworks of lesser importance (© Museum Of Bad Art [MOBA], Somerville, and Official Bad Art Museum of Art [OBAMA], Seattle), and (3) twentieth century abstract art of Western provenance from two prestigious museums (Tate Gallery and Kunstsammlung Nordrhein-Westfalen). We measured the following four statistical image properties: the fractal dimension (a measure relating to subjective complexity); self-similarity (a measure of how much the sections of an image resemble the image as a whole), 1st-order entropy of edge orientations (a measure of how uniformly different orientations are represented in an image); and 2nd-order entropy of edge orientations (a measure of how independent edge orientations are across an image). As shown previously, traditional artworks of different styles share similar values for these measures. The values for Bad Art and twentieth century abstract art show a considerable overlap with those of traditional art, but we also identified numerous examples of Bad Art and abstract art that deviate from traditional art. By measuring statistical image properties, we quantify such differences in image composition for the first time.

Arkansas Fine Arts Curriculum Framework. Strands: Visual Arts-Revised 2001; Music-Revised 2001; Dance; Theatre.

Science.gov (United States)

Arkansas State Dept. of Education, Little Rock.

This curriculum framework exists to guide the fine arts curriculum in grades K-12 in Arkansas public schools. The framework's student learning expectations are specific to what all students in those grades should know and be able to do in the arts (visual arts, music, dance, theater) during that span of years. The framework's content standards…

‘Aimless and Absurd Wanderings’? Children at the Museum of Old and New Art (Mona

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Adrian Franklin

2018-03-01

Full Text Available AbstractThis article reports on the experience of children at the Museum of New and Old Art (Mona in Hobart, Tasmania.  Referred to by its innovative owner as a ‘subversive adult Disneyland’, Mona went further than most new contemporary art galleries in designing a radically new experience of art.  It captured the imagination of people new to art in its own locality as well as a global art public.  Favoured by leading international contemporary artists for the freedom it gave art unmediated by art history, Mona also seemingly captured the imagination of children. Through an ethnographic approach in which five young children’s visits were documented in great detail, the article considers these in the light of children’s experiences of previous exhibitionary platforms and the relevance of Mona’s museological interventions for building their dispositions to art and broadening art publics.

The Suffering of Arts Entrepreneurs: Will Fine Art Students Be Educated on How to Become Successfully Self-Employed?

Science.gov (United States)

Thom, Marco

2015-01-01

The aim of the study is to show whether, how and to what extent fine art students will be equipped with entrepreneurial skills and therefore be educated on how to make a living as a practicing artist. A comprehensive and comparative analysis of Fine Art degree programmes and extra-curricular training offerings at higher education institutions…

Subjective Experiences of an Art Museum Engagement Activity for Persons with Early Alzheimer’s disease and their Family Caregivers

Science.gov (United States)

Flatt, Jason D.; Liptak, Amy; Oakley, Mary Ann; Gogan, Jessica; Varner, Tresa; Lingler, Jennifer H.

2014-01-01

Objective To describe the subjective experiences of older adults with early-stage Alzheimer’s disease or related cognitive disorders (ADRD) and their family caregivers who participated in an art museum engagement activity. Methods Four focus groups were conducted with 10 persons with ADRD and 10 family caregivers following the completion one-time, three hour engagement activity. Participants also completed a brief satisfaction survey, and associations were examined using nonparametric statistics. Results Three key themes were identified: cognitive stimulation, social connections, and a sense of self. In addition, we identified programmatic issues such as activity-specific concerns and program logistics that could help improve future art program offerings. Past experience with art and perceived social cohesion were correlated with participants’ overall satisfaction with the program. Discussion Efforts aimed at improving the quality of life of those with Alzheimer’s and their family caregivers should consider the potential role of art museums. PMID:25216658

75 FR 8139 - Institute of Museum and Library Services; Sunshine Act Meeting of the National Museum and Library...

Science.gov (United States)

2010-02-23

... policies with respect to the duties, powers, and authorities related to Museum and Library Services. If you... NATIONAL FOUNDATION ON THE ARTS AND THE HUMANITIES Institute of Museum and Library Services; Sunshine Act Meeting of the National Museum and Library Services Board AGENCY: Institute of Museum and...

THE IMPACT OF PROMOTION IN CREATIVE INDUSTRIES – THE CASE OF MUSEUM ATTENDANCE

Directory of Open Access Journals (Sweden)

Iva Buljubašić

2016-06-01

Full Text Available In times of crises, some cultural institutions in Croatia have experienced difficulties attracting an audience, which drove them to try out creative and unconventional forms of promotion. Promotion is one of the most popular, widespread and influential parts of marketing. Promotion is also of major importance for a cultural institution because of its ability to attract a large number of visitors. Setting out from this starting point, this paper focused on conventional and unconventional forms of promotion in museums as a part of the creative industries. Creative industries are gaining importance nowadays, and museums as a part of the visual arts sector of the creative industries are gaining popularity thanks to the promotion efforts. With this in mind, a survey was carried out among the visitors of the Museum of Fine Arts in Osijek during Julije Knifer's retrospective exhibition “Uncompromising” in March and April 2015. Participants were given a questionnaire consisting of closed-ended questions about conventional and unconventional forms of promotion and their impact on visitors. The authors participated in the organization of promotional activities for the exhibition and employed certain conventional and unconventional forms of promotion to get an idea of their impact on museum attendance (or lack thereof. The results demonstrated that the promotional activities had a positive impact on museum attendance, and unconventional forms of promotion had a greater impact than the conventional ones.

Drawing after the Antique at the British Museum, 1809–1817: “Free” Art Education and the Advent of the Liberal State

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Martin Myrone

2017-04-01

Full Text Available From 1808 the British Museum in London began regularly to open its newly established Townley Gallery so that art students could draw from the ancient sculptures housed there. This article documents and comments on this development in art education, based on an analysis of the 165 individuals recorded in the surviving register of attendance at the Museum, covering the period 1809–17. The register is presented as a photographic record, with a transcription and biographical directory. The accompanying essay situates the opening of the Museum’s sculpture rooms to students within a far-reaching set of historical shifts. It argues that this new museum access contributed to the early nineteenth-century emergence of a liberal state. But if the rhetoric surrounding this development emphasized freedom and general public benefit in the spirit of liberalization, the evidence suggests that this new level of access actually served to further entrench the “middle-classification” of art education at this historical juncture.

IBA in the museum

International Nuclear Information System (INIS)

Menu, M.

1990-01-01

The Research Laboratory of the Museums of France (LRMF) has been a part of the Louvre Museum since 1931. At the beginning, paintings were only examined by means of optical microscopy, under UV or IR light, or by X-ray radiography. With the development of archaeometry in the early 1960s, different spectrometric techniques have been applied to the analysis of works of art and archaeological objects: UV spectrometry, XRF, and even SEM coupled to an X-ray Si(Li) detector. Crystalline objects were investigated with XRD and Fourier transform infrared spectrometry (FTIR); organic matter with gas chromatography, FTIR, UV and visible spectrophotometry. Thus the principal aim of the LRMF is to characterize the materials and the techniques involved in the creation of art and archaeological objects, for example, methods of production, provenance studies, authentication, and conservation. (The problem of dating is for the time being only a minor subject of research at the LRMF). Because of the valuable nature of such objects, nondestructive methods of analysis have been developed, and consequently the results have to be more and more accurate to answer the questions put to us by the art historian. Moreover, the works of art must stay inside the security area of the museum. Therefore, it was decided in 1982 to install within the Louvre an accelerator dedicated solely to museum problems. The installation of AGLAE, begun in 1984, has now been completed. The accelerator system, a Pelletron 6SDH2 from NEC, was rendered operational in June 1988. A general consensus with regard to the applications of the ion beam techniques in art and archaeology was arrived at during the International Workshop held in Pont-a-Mousson, France in 1985, which brought together museum scientists as well as IBA physicists who had applied these techniques to archaeology, geology and metallurgy. (orig./WL)

Motivation of teenagers to design in the field of fine arts | Isekeeva ...

African Journals Online (AJOL)

This article includes the results of a scientific study, the purpose of which has been to study the motivational component of the design process in teenagers. In this regard, we considered the motivational component of the teenager's desire to design activities in the field of fine arts. We offered fine arts as an effective mean of ...

The Effect of Active Learning Techniques on Class Teacher Candidates' Success Rates and Attitudes toward Their Museum Theory and Application Unit in Their Visual Arts Course

Science.gov (United States)

Dilmac, Oguz

2016-01-01

The purpose of this study is to examine the effect that using active learning techniques during museum and gallery visits has on teacher candidates' academic success rates in and attitudes toward their Visual Arts Course. In this study, the importance and requirement of education to take place in museums and art galleries is emphasized. The…

Comparing hardcopy and softcopy results in the study of the impact of workflow on perceived reproduction quality of fine art images

Science.gov (United States)

Farnand, Susan; Jiang, Jun; Frey, Franziska

2011-01-01

A project, supported by the Andrew W. Mellon Foundation, is currently underway to evaluate current practices in fine art image reproduction, determine the image quality generally achievable, and establish a suggested framework for art image interchange. To determine the image quality currently being achieved, experimentation has been conducted in which a set of objective targets and pieces of artwork in various media were imaged by participating museums and other cultural heritage institutions. Prints and images for display made from the delivered image files at the Rochester Institute of Technology were used as stimuli in psychometric testing in which observers were asked to evaluate the prints as reproductions of the original artwork and as stand alone images. The results indicated that there were limited differences between assessments made using displayed images relative to printed reproductions. Further, the differences between rankings made with and without the original artwork present were much smaller than expected.

Telerobotic Haptic Exploration in Art Galleries and Museums for Individuals with Visual Impairments.

Science.gov (United States)

Park, Chung Hyuk; Ryu, Eun-Seok; Howard, Ayanna M

2015-01-01

This paper presents a haptic telepresence system that enables visually impaired users to explore locations with rich visual observation such as art galleries and museums by using a telepresence robot, a RGB-D sensor (color and depth camera), and a haptic interface. The recent improvement on RGB-D sensors has enabled real-time access to 3D spatial information in the form of point clouds. However, the real-time representation of this data in the form of tangible haptic experience has not been challenged enough, especially in the case of telepresence for individuals with visual impairments. Thus, the proposed system addresses the real-time haptic exploration of remote 3D information through video encoding and real-time 3D haptic rendering of the remote real-world environment. This paper investigates two scenarios in haptic telepresence, i.e., mobile navigation and object exploration in a remote environment. Participants with and without visual impairments participated in our experiments based on the two scenarios, and the system performance was validated. In conclusion, the proposed framework provides a new methodology of haptic telepresence for individuals with visual impairments by providing an enhanced interactive experience where they can remotely access public places (art galleries and museums) with the aid of haptic modality and robotic telepresence.

Creative and Aesthetic Responses to Picturebooks and Fine Art

Science.gov (United States)

Evans, Janet

2009-01-01

It has long been accepted that one can respond to fine art in a variety of different ways. However, it is only in the last decade or so that picturebooks have been attracting the kind of recognition that they have long deserved as art forms to be considered and responded to both creatively and aesthetically. There is a growing body of research…

DIORAMA ART – A POTENTIAL MEDIUM FOR MUSEUM ...

African Journals Online (AJOL)

User

The study recognizes the traditional role diorama plays as an effective medium for museum edu- cation and employed both ... Keywords: Diorama, Museum, Education, Aperture, Assemblage. ... velopment of the modern world. Aside the open ...

Application of INAA to the examination of art objects. Research in Poland

International Nuclear Information System (INIS)

Panczyk, E.; Walis, L.; Ligeza, M.

2000-01-01

Systematic studies on art objects using instrumental neutron activation analysis and neutron autoradiography have been carried out in the Institute of Nuclear Chemistry and Technology in collaboration with the Faculty of Art Conservation and Restoration of the Academy of Fine Arts in Cracow, as well as with other Academies of Fine Arts and museums in Poland. A number of essential data on the concentration of trace elements particularly in chalk grounds and pigments (such as lead white, lead-tin yellow, smalt), Chinese porcelain, Thai ceramics, as well as in the clay fillings of sarcophagi of Egyptian mummies was accumulated. The above mentioned examination of art objects prior to their conservation helps to determine precisely the materials used in the process of creating art objects, as well as to identify the approximate place of origin of particular materials. (author)

Climate Museum and Garden

Science.gov (United States)

Gregg, Jay; Bille, Dorthe

2017-04-01

The Climate Museum and Garden is conceived as a cross-disciplinary experience, where the arts and sciences link together to increase understanding of the Earth's climate and its relevance to our fate as a species. This would be a place of inspiration. The Climate Museum and Garden would merge concepts of modern art museums and modern science museums, with exhibitions, live music and theater performances, visitor interaction, unique discoveries and reflection. It would be a place where visitors are immersed in experiences, lingering indoors and out in quiet consideration and gratitude for our planet's atmosphere. The story of climate change is compelling in its own right; theories of the greenhouse effect go back over century and climate policy has stretched back a few decades. Whereas scientific researchers have been contributing to understanding the mechanisms and impacts of climate change for many decades; whereas researchers have participated in climate summits and informed policy makers; whereas researchers have taught classes of gifted students; in all of this, the public has mostly missed out. This public relations gap has been unfortunately filled by those that would seek to politicize and mislead the public, leading to an engagement gap among the general public. Now we stand on a precipice. Therefore we see a ripe opportunity to reach out and inspire the population. We build off of current pedagogic research that shows that experienced-based learning is more impactful when it engages the senses and elicits an emotional response. People understand what they experience, what they feel, and this serves as the basis for personal reflection. In this sense the visitor experience is generative, in that it promotes further personal investigation and interaction. The Climate Museum and Garden would be a start. In the future, we envisage a future network of climate museums in all major cities. It would be a flagship attraction for any city, along with their art

75 FR 63516 - Institute of Museum and Library Services; Sunshine Act Meeting of the National Museum and Library...

Science.gov (United States)

2010-10-15

...: Elizabeth Lyons, Director of Special Events and Board Liaison, Institute of Museum and Library Services... and Library Services, related to museum and library services. If you need special accommodations due... NATIONAL FOUNDATION ON THE ARTS AND THE HUMANITIES Institute of Museum and Library Services...

Investigation into the impact of tone reproduction on the perceived image quality of fine art reproductions

Science.gov (United States)

Farnand, Susan; Jiang, Jun; Frey, Franziska

2012-01-01

A project, supported by the Andrew W. Mellon Foundation, evaluating current practices in fine art image reproduction, determining the image quality generally achievable, and establishing a suggested framework for art image interchange was recently completed. (Information regarding the Mellon project and related work may be found at www.artimaging.rit.edu.) To determine the image quality currently being achieved, experimentation was conducted in which a set of objective targets and pieces of artwork in various media were imaged by participating museums and other cultural heritage institutions. Prints and images for display made from the delivered image files at the Rochester Institute of Technology were used as stimuli in psychometric testing in which observers were asked to evaluate the prints as reproductions of the original artwork and as stand alone images. The results indicated that there were limited differences between assessments made with and without the original present for printed reproductions. For displayed images, the differences were more significant with lower contrast images being ranked lower and higher contrast images generally ranked higher when the original was not present. This was true for experiments conducted both in a dimly lit laboratory as well as via the web, indicating that more than viewing conditions were driving this shift.

Reducing medical students' stigmatization of people with chronic mental illness: a field intervention at the "living museum" state hospital art studio.

Science.gov (United States)

Cutler, Janis L; Harding, Kelli J; Hutner, Lucy A; Cortland, Clarissa; Graham, Mark J

2012-05-01

The authors designed an intervention to reduce beginning medical students' stigmatization of people with chronic mental illness (CMI). Pre-clinical medical students visited a state psychiatric facility's "Living Museum," a combination patient art studio/display space, as the intervention. During the visit, students interacted with artist-guides who showed their work and discussed their experiences creating art. Students completed a self-assessment survey developed to measure attitudes and feelings toward people with CMI after half of the class visited the Living Museum, constituting a Visit/No-Visit cross-sectional comparison. Students who visited the Living Museum (N=64), as compared with those who did not visit (N=110), endorsed more positive attitudes toward people with CMI. Among the students who visited, however, those who reported having spoken individually with a patient-artist (N=44), paradoxically, indicated less-positive feelings toward people with CMI. An intervention in which pre-clinical medical students visited patient-artist guides in an art-studio setting generally improved students' attitudes toward people with CMI. Thus, nontraditional psychiatric settings offer a valuable adjunct to more traditional clinical settings to reduce stigma when introducing medical students to the field of psychiatry.

MUSEUMS AS CULTURAL TOURISM ATTRACTIONS IN UBUD

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Ida Bagus Kade Subhiksu

2016-03-01

Full Text Available Recently, there has been a shift in the attributes of several museums in Ubud in order to attract more tourists to visit museums as cultural tourism attractions. Some museums have expanded their collections and add other attributes to complement their main collections, which as the potential to alter the idealism, functions, and roles of museums. Another challenge faced by museum operators is the development of other tourist attractions, such as the addition of tourism destination attributes in Ubud, which was initially known as tourism destinations that offered art and culture such as dance performances and museums, and now have expanded into yoga destination, adventure destination, and so on. Based on these factors, the problem statements in this research are formulated as follows: (1 How are museums as tourist attractions in Ubud area, from the perspective of operators? (2 How are museums as tourist attractions in Ubud area, from the perspective of visitors? (3 How is the relationship between museums and other tourism components when examined from the role of museums as cultural tourism attractions in Ubud area?. This research on museums was conducted in the Ubud area because Ubud has made museums as the cultural tourism attractions in the area, which include the Blanco Museum, Museum Puri Lukisan, Agung Rai Museum of Art (ARMA, the Rudana Museum, and Neka Art Museum. This research is based on the theories of museum management, marketing, and theories on cultural tourism attraction. The research involved the participation of 82 foreign visitors and 79 domestic visitors as respondents, in addition to five museum owners and two museum professionals as informants. The conclusion of this research are as follows: (1 From the perspective of museum operators, museums function as cultural tourism attractions, as sources of historical information, as the media for cultural preservation, and the actualization of the noble objective of the museum

La Gestión de la Comunicación Externa Online con los Visitantes en los Museos y Centros de Arte en Málaga / The Online External Communication Management with the Visiting Public in Museums and Art Centers in Málaga

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Ana Soler Humanes

2013-12-01

Full Text Available La siguiente investigación analiza la gestión de la comunicación externa online con el público visitante en los museos y centros de arte malagueños, centrándose en el uso de páginas web y plataformas 2.0 para cumplir sus objetivos. La muestra abarca a los tres museos más visitados de Málaga: Museo Picasso, Museo Carmen Thyssen y Centro de Arte Contemporáneo (CAC. Los resultados obtenidos prueban que la comunicación de los museos en internet continúa manteniendo un carácter tradicional, si bien se observan claros avances en la adaptación al entorno digital. / The following research analyses the management of the online external communication with the visiting public in museums and art centers in Málaga, focusing on the use of web pages and 2.0 platforms to attain their objectives. The sample includes the three most visited museums in Málaga: Picasso Museum, Carmen Thyssen Museum and the Contemporary Art Center (CAC. The results show that communication online of the museums keeps being traditional, although there is a clear progress in adapting to the digital environment.

The cost of a visit to the museum: Analysis of a survey

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Elena Ploşniţa

2014-12-01

Full Text Available Author of the article “The cost of a visit to the museum: Analysis of a survey” analyzes the results of a survey of visitors conducted from July 26 to August 15, 2012 at three national museums – the National Museum of Ethnography and Natural History, the National Museum of Fine Arts, and the National Museum of History of Moldova, as well as at the Natural and Cultural Reserve “Old Orhei” and the Pushkin House Museum in Chisinau. There has been used a questionnaire consisting of 12 questions. After analyzing the social status and occupation of the respondents, after determination of the reason for visiting the museum, systematization of data on the degree of satisfaction and the views on the entrance fees, the authors of the study concluded that these five museums’ visitors willing to pay for access to the museum from 13 to 28 MDL, but only if this visit can meet their informational and emotional needs. The public requires a high standard of information, a lot of respect from museum staff, a certain atmosphere of relaxation and a treatment that satisfies all expectations. Regardless of social class, occupation, age, way of perceiving the museum institution, and the level of satisfaction, all respondents consider that the price of the entrance ticket should be increased. The survey results show that the museums do not attract tourist groups, indicating that the organizers of tours do not include museums in tourist routes. The authors consider that research to the public should be on the agenda of each museum in order to discover the needs and wishes of their visitors and to meet these requirements as best as possible.

75 FR 32818 - Institute of Museum and Library Services; Sunshine Act Meeting of the National Museum and Library...

Science.gov (United States)

2010-06-09

... NATIONAL FOUNDATION ON THE ARTS AND THE HUMANITIES Institute of Museum and Library Services; Sunshine Act Meeting of the National Museum and Library Services Board AGENCY: Institute of Museum and Library Services (IMLS), NFAH. ACTION: Notice of Meeting. SUMMARY: This notice sets forth the agenda of...

Building Staff Capacity to Evaluate in Museum Education

Science.gov (United States)

Kubarek, Joy

2015-01-01

For years, museums of all varieties, including art museums, science centers, history museums, zoos, and aquariums, have conducted education evaluation. However, museums are all too often faced with the challenge of allocating staff time, expertise, and other resources toward conducting evaluation, particularly evaluation that moves beyond program…

Another New Museum?

DEFF Research Database (Denmark)

Michels, Christoph; Beyes, Timon; Steyaert, Chris

2014-01-01

city is at work in the planning of a new art museum in a medium-sized Swiss city. The analysis shows how the entrepreneurial rationale is contested and re-appropriated through the use of classic and situational modes to organize this cultural institution. The ways of imagining the museum are described...... as the effects of these three modes of ordering – entrepreneurial, classic, and situational – as well as their hybridization. The authors conclude that by attending to the multiple layers of urban life, which unfold in and around museums, we can imagine other ‘new museums’ than those of the entrepreneurial city....

Contemporary Adult Education Philosophies and Practices in Art Galleries and Museums in Canada and the UK

Science.gov (United States)

Clover, Darlene E.; Bell, Lorraine

2013-01-01

Public art galleries and museums have been mandated to become more relevant and useful to the lived experiences of the broad communities they claim to serve. Adult education has long been part of the work of these institutions, although historically the relationship has been uneasy, and they seldom feature in the adult education literature. To…

The Herbert Virtual Museum

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Panagiotis Petridis

2013-01-01

Full Text Available In recent years, virtual reality and augmented reality have emerged as areas of extreme interest as unique methods for visualising and interacting with digital museum artefacts in a different context, for example, as a virtual museum or exhibition, particularly over the Internet. Modern cultural heritage exhibitions have evolved from static to dynamic exhibitions and challenging explorations. This paper presents two different applications developed for the Herbert Museum and Art Gallery that make the user’s experience more immersive, engaging, and interactive. The first application utilizes mobile phone devices in order to enrich the visitors experience in the museum, and the second application is a serious game for cultural heritage and in particular for museum environments focusing on the younger visitors.

The Function of Museum Pedagogy in the Development of Artistic Appreciation

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Matjaž Duh

2015-12-01

Full Text Available Contemporary museum pedagogy is located spatially in museums and galleries, which represent an authentic space for art. Artistic artefacts on display constitute an excellent basis for the development of art appreciation among children and young people. This means that the role of museum educators is not limited merely to classification, managing and presentation of art collections, but is also focused on in-depth educational work. Museum pedagogy must follow the guidelines of contemporary art-pedagogical practice, based on the development of productive and receptive skills among pupils and students. The simultaneous development of both skills is a prerequisite for discussing the development of artistic abilities. In the perception and reception of works of art, participants reach their own individual artistic interpretations of the given works of art. The method of aesthetic transfer emerges as the most appropriate didactic approach.

78 FR 52601 - Culturally Significant Object Imported for Exhibition; Determinations: “Visiting Masterpiece...

Science.gov (United States)

2013-08-23

... Treasure, Stolen and Recovered'' at the Museum of Fine Arts and the exhibition ``Piero della Francesca: Intimate Encounters'' at The Metropolitan Museum of Art, imported from abroad for temporary exhibition... exhibit object at the Museum of Fine Arts, Boston, MA, from on or about September 13, 2013, until on or...

The Institute for Southern Contemporary Art (ISCA

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João Enxuto

2016-12-01

Full Text Available João Enxuto and Erica Love are artists and writers living in New York City. Their writing has appeared in Art in America, Mousse Contemporary Art Magazine, Wired, and X-TRA Contemporary Art Quarterly. They have given talks and exhibited work at the Centre Pompidou, Whitney Museum of Art, the New Museum, Anthology Film Archives, Walker Art Center, Yossi Milo Gallery, Carriage Trade, Louisiana Museum in Denmark, ArtCenter/South Florida, and the Tamayo Museum in Mexico City.

An Insurgent Curatorial Strategy: Using Dialogue and Collaboration to Create Meaning in Public Art Galleries and Museums

Science.gov (United States)

Marsden, Scott

2018-01-01

My insurgent curatorial strategy incorporates theory around dialogue and is used to develop a participatory and collaborative process that gives voice to those who are marginalised and/or disfranchised and are suppressed by dominant social narratives. My strategy demonstrates how art galleries and museums can function as sites for community…

Arts Entrepreneurship Education in the UK and Germany: An Empirical Survey among Lecturers in Fine Art

Science.gov (United States)

Thom, Marco

2017-01-01

Purpose: The purpose of this paper is to report on the current state of arts entrepreneurship education at higher educational institutions (HEIs) in the UK and Germany. It is based on findings from questionnaire surveys among 210 lecturers in fine art at 89 HEIs in the UK and Germany. Design/methodology/approach: This paper explores issues related…

Hvorfor Art Deco nu?

DEFF Research Database (Denmark)

Gether, Vibeke Petersen

2015-01-01

Udstillingen er udover Victoria & Albert Museum også inspireret af Designmuseum Danmarks udstilling i 1997-98 med titlen Dansk Design 1910-45. Art Déco & Funktionalisme. Selvom udstillingen viste fine eksempler på art deco i dansk design og arkitektur, er det dog først og fremmest funktionalismen......, der har trukket de store overskrifter op igennem det 20. århundrede herhjemme. Gl. Holtegaard efterprøver nu art deco-begrebet på dansk billedkunst i en udstillingskontekst. Fokus er først og fremmest på maleri og skulptur. Der inddrages i mindre målestok andre visuelle medier som arkitekturtegninger......, film, illustrationer, plakater og kunsthåndværk. Med udstillingen vil vi gerne synliggøre de forskellige æstetiske udtryk, som vi mener meget bedre dækkes af betegnelsen art deco i dansk kunst i perioden 1910–1940....

Developing an Exemplary Fine Arts Program: A Multiple Case-Study of Three Private Institutions of Higher Education

Science.gov (United States)

Filippelli, James Anthony

2014-01-01

This study intended to identify commonalities of fine arts programs at selected private liberal arts colleges and universities in order to ultimately develop an exemplary fine arts program in a similar setting. This study searched for answers to three research questions within the context of art, music, dance, and theatre. The first research…

Integrating Fine Arts Instruction with At Risk Students.

Science.gov (United States)

Brieger, Charles; Kendall-Dudley, Lori; Sarmiento, Patty

This report details a program design for improving fine arts instruction among at-risk students. The participants were in a second and third grade bilingual class and a first-through third-grade learning disabled and behavior disordered class in an at-risk elementary school along with a heterogeneous fourth-grade class in a neighboring Midwest…

The British Museum: An Imperial Museum in a Post-Imperial World

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Emily Duthie

2011-12-01

Full Text Available This article examines the British Museum’s imperialist attitudes towards classical heritage. Despite considerable pressure from foreign governments, the museum has consistently refused to return art and antiquities that it acquired under the aegis of empire. It is the contention of this article that the British Museum remains an imperialist institution. The current debates over the British Museum’s collections raise profound questions about the relationship between museums and modern nation states and their nationalist claims to ancient heritage. The museum’s inflexible response to repatriation claims also encapsulates the challenges inherent in presenting empire and its legacy to contemporary, post-imperial audiences.

A question of perception: Bourdieu, art and the postmodern.

Science.gov (United States)

Prior, Nick

2005-03-01

Bourdieu and Darbel's classic study of European art museum audiences, The Love of Art (1991), remains one of the most influential academic studies of the social indices of art perception. Its findings were central to Bourdieu's on-going study of culture-mediated power relations, as found in the book Distinction (Bourdieu 1984), as well as social surveys of the behaviour of museum audiences across the world. Much in Bourdieu's account of art perception, however, has begun to appear dated and in need of supplementation. This paper will be a critical but sympathetic re-reading of Bourdieu's sociology of art perception in the light of recent criticisms of his approach. Whilst fine art and its institutions continue to function as sources of social identification and differentiation, this paper argues that the relationship between perception and stratification is somewhat looser than connoted in Bourdieu's work. Beyond the shift to a less rigid taxonomy of social formations, the immense expansion of the visual arts complex has opened up possibilities for the dissemination of art knowledge beyond the cultivated bourgeois. The erosion of boundaries between the aesthetic and the economic, between art and popular culture, are the result of processes of commodification that have placed museums alongside shopping malls within the realms of consumption and entertainment. New audiences have emerged from this mix with less dichotomized - that is, either cultivated or popular - ways of seeing culture that suggest a revision of Bourdieu's overly integrated account of class and cognition. An alternative, 'postmodern', approach to art perception is entertained, where an aesthetics of distinction is replaced by a culture of distraction, but this abstracts culture from any structural grounding. Capturing the shift to an accelerated cultural present, instead, requires a warping of Bourdieu's categories to account for broader patterns of culture and economy and the accentuation of modern

Customizing digital printing for fine art practice

Science.gov (United States)

Parraman, Carinna E.; Thirkell, Paul; Hoskins, Steve; Wang, Hong Qiang; Laidler, Paul

2005-01-01

The presentation will demonstrate how through alternative methods of digital print production the Centre for Fine Print Research (CFPR) is developing methodologies for digital printing that attempt to move beyond standard reproductive print methods. Profiling is used for input and output hardware, along with bespoke profiling for fine art printmaking papers. Examples of artist's work, and examples from the Perpetual Portfolio are included - an artist in residence scheme for selected artists wanting to work at the Centre and to make a large-format digital print. Colour is an important issue: colour fidelity, colour density on paper, colour that can be achieved through multiple-pass printing. Research is also underway to test colour shortfalls in the current inkjet ink range, and to extend colour through the use of traditional printing inks.

The Benefits of Fine Art Integration into Mathematics in Primary School

Science.gov (United States)

Brezovnik, Anja

2015-01-01

The main purpose of the article is to research the effects of the integration of fine art content into mathematics on students at the primary school level. The theoretical part consists of the definition of arts integration into education, a discussion of the developmental process of creative mathematical thinking, an explanation of the position…

Mexico and the constitution of the cultural patrimony policy in museums throughout the 20th Century

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Márcio Rogério Olivato Pozzer

2017-12-01

Full Text Available The historical, political and social role that the public policies of cultural heritage played in museums occupied in Mexico during the XX century, especially since the ‘Mexican Revolution’ of 1910, involved diverse social sectors in the creation of museological collections and also of the National Institute of Anthropology and History (Inah and the National Institute of Fine Arts (Inba, that, in turn were responsible for the extension of the concept of cultural heritage, which implied the insertion of cultural practices and communities that were excluded from the ‘official’ patrimony. These processes have transformed Mexican cultural policy into a new paradigm for Latin American countries and have inserted Mexico and its museums into one of the world's top tourist destinations.

Beyond the Museum Walls : Situating Art in Virtual Space (Polemic Overlay and Three Movements

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Vince Dziekan

2005-01-01

Full Text Available In recognition of digital communication’s profound effects on social relations and institutions, this paper explores the influence of digitisation on our notions of art through the design of its institutions. No longer can the museum, as the primary technology of art, be viewed as just a physical container. With the additional of the hidden infrastructure of electronic and multimedia technologies that are to be found “behind the walls”, as it were, the architectural issues of negotiating spaces and manipulating locative settings for displaying artworks are as much virtual as physical.As a contribution to the negotiation of a distributed aesthetics, this paper entertains the possibility that transplanting art to the virtual site of the Internet disrupts our understanding of art itself. From presence on the gallery wall to the plane of the screen, if this translation offers an alternative way of seeing, then what does the Web offer to a different apperception of art? How to position the digital in the discourse surrounding art and the role it plays within contemporary cultural practice?In an attempt to ground these concerns, I will frame the subsequent discussion by focussing my attention upon one particularly representative instance: The National Gallery of Victoria’s Ian Potter Gallery of Australian Art; recognising in this localised, site-specific experience a microexample of a much more ubiquitous phenomenon.

The Art of ATLAS; multimedia installation by Neal Hartman and Claudia Marcelloni at Thinktank science museum in Birmingham, UK.

CERN Multimedia

Claudia Marcelloni

2010-01-01

The Art of ATLAS is an multimedia installation, developed by Neal Hartman and Claudia Marcelloni about the physicists, engineers and technicians behind the ATLAS Experiment. The installation will been shown at Planetarium entrance of the Thinktank science museum in Birmingham, UK from October 2010 until January 2011.

Visual imaging capacity and imagery control in Fine Arts students.

Science.gov (United States)

Pérez-Fabello, Maria José; Campos, Alfredo; Gómez-Juncal, Rocío

2007-06-01

This study investigated relationships between visual imaging abilities (imaging capacity and imagery control) and academic performance in 146 Fine Arts students (31 men, 115 women). Mean age was 22.3 yr. (SD= 1.9; range 20-26 yr.). All of the participants who volunteered for the experiment regularly attended classes and were first, second, or third year students. For evaluation of imaging abilities, the Spanish versions of the Gordon Test of Visual Imagery Control, the Vividness of Visual Imagery Questionnaire, the Verbalizer-Visualizer Questionnaire, and Betts' Questionnaire Upon Mental Imagery were used. Academic performance was assessed in four areas, Drawing, Painting, Sculpture, and Complementary Subjects, over a three-year period. The results indicate that imagery control was associated with academic performance in Fine Arts. These findings are discussed in the context of previous studies, and new lines of research are proposed.

The Appropriation of Fine Art into Contemporary Narrative Picturebooks

Science.gov (United States)

Serafini, Frank

2015-01-01

Many picturebook artists have been formally trained in specific artistic styles, movements, and techniques. These artists appropriate and transform works of fine art to varying degrees to fit the themes and designs of the stories they illustrate and publish, and to increase the significance and impact of their illustrations. The…

Issues And Concerns In The Presentation And Conception Of Commercial And Fine Art Holography

Science.gov (United States)

Cossette, Marie A.

1987-06-01

This paper will address the issues raised by the "commercialization" of holography that has taken place since the mid-1980's. The paper examines the range of these issues as they apply to the practise of fine-art holography, the author's area of expertise. The effect of mass-produced and readily available holograms on the public's perception of holographic art will be discussed in light of the presence of holographic images on credit cards and national magazine covers. A major portion of the paper will examine the specific issues raised by the commercialization and mass production of holographic art. These issues will centre on the professional, ethical and artistic implications of commercialized holography as they apply to the practice of fine art holography.

Art and Architectural Space

DEFF Research Database (Denmark)

Unterrainer, Walter

2014-01-01

and its content. The urban and spatial question goes far beyond museums and other buildings for art: how in democratic societies should public spaces be supported by art and how can public art support ´cityness´ and meaning versus spaces of consumerism. Famous but egocentric buildings with the main......art and architectural space museums and other exhibition spaces or how artists learn to love architects Over the last two decades, innumerable new museums, art galleries and other exhibition spaces have been built and opened all over the globe. The most extreme growth happened in China, where...... historically considered even the mother of all arts) - but more relevant: what are appropriate architectural spaces for presenting, exhibiting, contemplating, reflecting, meditating, discussing, enjoying, dissenting, debating creations of art. Simplified, this is a question about the relation between package...

Adult Education for Social and Environmental Change in Contemporary Public Art Galleries and Museums in Canada, Scotland and England

Science.gov (United States)

Clover, Darlene E.

2015-01-01

Historically, pubic art galleries and museums have a well-deserved reputation for elitism, colonialism and exclusion and they are, therefore, frequently omitted from the discourse of adult education. However, the escalating social, cultural and ecological problems of this new century have placed pressure on these public institutions to change and…

Contemporary Danish book art

DEFF Research Database (Denmark)

Larsen, Poul Steen

the Metropolitan Museum of Art, Thomas J. Watson Library, Helge Ernst, illustrator, Poul Kristensen, printer, Ole Olsen, bookbinder, exhibition catalog......the Metropolitan Museum of Art, Thomas J. Watson Library, Helge Ernst, illustrator, Poul Kristensen, printer, Ole Olsen, bookbinder, exhibition catalog...

The good field trip: How elementary students from diverse socio-economic backgrounds learn science, art, and technology at a museum

Science.gov (United States)

Martell, Sandra Toro

The Good Field Trip is a study that uses an ethnographic approach to answer the question of what learning looks like during a field trip to a museum. The study uses the Contextual Model of Learning (Falk & Dierking, 2000) to investigate elementary students' personal, physical, and sociocultural contexts of learning as well as how time affects students' thoughts and feelings about the experience. The author accompanied a group of eight students on a three and a half day camp-like experience to a museum that promotes environmental stewardship and the integration of art, science, and technology use and learning. The author videotaped the students' conversations and experiences and interviewed students before, during, and after the trip. Analyses of the videotapes were supplemented with student documents, including comic books, journal notes, and reflective essays about the trip. Findings include that not all experiences are marked as science, art, and technology; technology use does not occur; art is presented in a more formalized manner than science, which is composed of observation and the acquisition of knowledge about plants and animals; and conversations and activities resemble traditional modes of learning in school settings.

Engaging Experiences in Interactive Museum Exhibitions

DEFF Research Database (Denmark)

Borup Lynggaard, Aviaja; Langballe, Line; Geert Jensen, Birgitte

2005-01-01

and history museums. There is considerable potential in the development of experiences and in the communication of information customized to visitors in the museum apart from personally held information devices. The paper will present background research for developing solutions to a new media museum......The aim of the present paper is to outline possibilities for the development of combined IT and architectural concepts supported by joint engaging experiences for visitors to the room of the museum of the future. Focus is upon a joint experience, as many existing IT-systems designed for museums...... primarily appeal to a strong individualised experience where the visitor views a PDA or similar, rather than experience the atmosphere and interaction of the room. In this context, there are several examples from practice and in the research literature of IT-systems for science centres, art museums...

Management of small digital collections with Omeka: the MoRE experience (A Museum of REfused and unrealised art projects

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Alberto Salarelli

2016-11-01

Full Text Available This article examines the main features of Omeka, a free and open source CMS (Content Management System for online digital collections developed by the Roy Rosenzweig Center for History and New Media at George Mason University. Omeka presents very interesting features: first, a remarkable ease of use that, however, does not affect its multiple functions; secondly, it provides tools to create, in an innovative way, virtual exhibitions for archives, libraries and museums in order to promote their collections on the web; thirdly, its extreme adaptability to collection size: in fact Omeka is used by large and celebrated institutions such as the New York Public Library and Europeana, but also by many small initiatives including MoRE (A Museum of REfused and unrealized art projects. Specifically, the second part of the article describes, in brief, the objectives and characteristics of this virtual museum dedicated to contemporary unrealized artworks; it is an experimental project, still under development, devised by a working group of the University of Parma (Italy, who found in Omeka the most suitable IT solution to collect and expose these unique museum materials.

Art and Architectural Space

DEFF Research Database (Denmark)

Unterrainer, Walter

2014-01-01

the number of museums went up from 300 by 1980 to estimated 3000 museums by 2015. In urban discourses, new museums and buildings for art have been considered as drivers for ´cultural sustainability´ of cities. The notion is diffuse and the reality is more an economic centred ´city branding´ to help...... the promotion of tourism. What surprises: in many cities, the buildings for art are better known and more published and discussed than the art they accommodate. A lot of them are considered as art objects. This raises two questions: How much is architecture itself a form of arts? (in Western architecture...... historically considered even the mother of all arts) - but more relevant: what are appropriate architectural spaces for presenting, exhibiting, contemplating, reflecting, meditating, discussing, enjoying, dissenting, debating creations of art. Simplified, this is a question about the relation between package...

The NMC Horizon Report: 2013 Museum Edition

Science.gov (United States)

Johnson, L.; Adams Becker, S.; Freeman, A.

2013-01-01

The "NMC Horizon Report: 2013 Museum Edition," is a co-production with the Marcus Institute for Digital Education in the Arts (MIDEA), and examines six emerging technologies for their potential impact on and use in education and interpretation within the museum environment: BYOD (Bring Your Own Device), crowdsourcing, electronic…

Computer technologies of future teachers of fine art training as an object of scientific educational research

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Bohdan Cherniavskyi

2017-03-01

Full Text Available The article deals with computer technology training, highlights the current state ofcomputerization of educational process in teacher training colleges, reveals the specifictechniques of professional training of teachers of fine arts to use computer technology inteaching careers.Key words: Methods of professional training, professional activities, computertechnology training future teachers of Fine Arts, the subject of research.

The Museum Library in the United States: A Sample

Science.gov (United States)

Hull, David; Fearnley, Henry D.

1976-01-01

A statistical survey was made of the general condition and problems of the museum library, using a questionnaire sent to a random sample of 856 historical, art, science, and other museum libraries. (Author)

Envisioning the Future: Working toward Sustainability in Fine Art Education

Science.gov (United States)

Clarke, Angela; Hulbert, Shane

2016-01-01

Fine art education provides students with opportunities to acquire knowledge and skills to respond creatively to their experience of society and culture. Fostering creative ways of knowing, thinking and doing requires studio learning conditions that promote the exploration of embodied perceptions, material sensibilities and conceptual ideas that…

When HVAC design becomes reality: investigating the impact of floor heating on the indoor climate risks in a contemporary art museum

NARCIS (Netherlands)

Verberne, F.; Neuhaus, E.; Ankersmit, H.A.; Schellen, H.L.

2014-01-01

The consequences of installing underfloor heating in a contemporary art museum for the presentation and conservation of artworks are addressed in this paper. The subsequent relative humidity (RH) and temperature gradients are identified and analyzed. The research results show that above floor level,

The art of compromise: the founding of the National Gallery of British Art, 1890-1892

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Amy Woodson-Boulton

2015-03-01

Full Text Available This article argues that the press played a key role in defining the Tate Gallery by facilitating a national debate about the siting, nature, and purpose of the proposed National Gallery of British Art. Art critics, politicians, journalists and a variety of newspaper editors weighed in on whether Britain should create a museum of modern art, a museum of national art, or both. The understanding of British art as quintessentially modern at the time of the founding of the Gallery meant that from the beginning the Tate Gallery was founded as both the National Gallery of British Art and a museum of modern art. The changing definition of modern art in the twentieth century, however, created fractures between these two identities that eventually led to the split between Tate Britain and Tate Modern.

Robust retrieval of fine art paintings

Science.gov (United States)

Smolka, Bogdan; Lukac, Rastislav; Plataniotis, Konstantinos N.; Venetsanopoulos, Anastasios N.

2003-10-01

The rapid growth of image archives increases the need for efficient and fast tools that can retrieve and search through large amount of visual data. In this paper we propose an efficient method of extracting the image color content, which serves as an image digital signature, allowing to efficiently index and retrieve the content of large, heterogeneous multimedia databases. We apply the proposed method for the retrieval of images from the WEBMUSEUM Internet database, containing the collection of fine art images and show that the new method of image color representation is robust to image distorsions caused by resizing and compression and can be incorporated into existing retrieval systems which exploit the information on color content in digital images.

The photographic subversion: Benjamin, Manet and Art(istic reproduction

Directory of Open Access Journals (Sweden)

Lauren Weingarden

2006-12-01

Full Text Available Besides referring to museum masterpieces in his 1863 paintings Le déjeuner sur l’herbe and Olympia, Édouard Manet used photography, of both academic and pornographic models, new genres of commercial photography that emerged during the early 1850s. I argue that Manet deliberately conflated fine art reproductions and mass media products, a practice that invites discussion in the light of Walter Benjamin’s “The Work of Art in the Age of Its Technological Reproducibility”. Since both engaged in a dialogue with Charles Baudelaire’s writings on art, culture, and photography, these writings provide a framework for discerning modernist paradoxes inherent in Manet’s and Benjamin’s critical interpretations of popular and material culture.

Museum security and the Thomas Crown Affair.

Energy Technology Data Exchange (ETDEWEB)

Michaud, E. C. (Nuclear Engineering Division)

2010-01-01

Over the years, I've daydreamed about stealing a Vermeer, a Picasso, or Rembrandt. It tickles me, as much as watching the reboot of The Thomas Crown Affair. Why is it, do you suppose, so much fun to think about stealing a world renowned piece off the wall of a major metropolitan museum? Is it the romantic thoughts of getting away with it, walking past infrared detectors, and pressure sensors ala Indiana Jones with the sack of sand to remove the idol without triggering the security system? Is it the idea of snatching items with such fantastic prices, where the romance of possessing an item of such value is less intoxicating than selling it to a private collector for it to never be seen again? I suspect others share my daydreams as they watch theater or hear of a brazen daylight heist at museums around the world, or from private collections. Though when reality sets in, the mind of the security professional kicks in. How could one do it, why would one do it, what should you do once it's done? The main issue a thief confronts when acquiring unique goods is how to process or fence them. They become very difficult to sell because they are one-of-a-kind, easy to identify, and could lead to the people involved with the theft. The whole issue of museum security takes up an ironic twist when one considers the secretive British street artist 'Banksy'. Banksy has made a name for himself by brazenly putting up interesting pieces of art in broad daylight (though many critics don't consider his work to be art) on building walls, rooftops, or even museums. I bring him up for a interesting take on what may become a trend in museum security. In March of 2005, Banksy snuck a piece of his called 'Vandalized Oil Painting' into the Brooklyn Museum's Great Historical Painting Wing, plus 3 other pieces into major museums in New York. Within several days, 2 paintings had been torn down, but 2 stayed up much longer. In his home country of the UK, a

Art and Finance: Fine Art Derivatives

Directory of Open Access Journals (Sweden)

Francesco Strati

2014-04-01

Full Text Available This work is intended to introduce a new kind of asset, the so called art asset. This financial tool is an asset whose value is related to an art-work, and in particular to the artist reputation. It will be shown the evaluation of an art asset by using a particular kind of volatility, the α-hedging. This tool normalizes the prices volatility of the art-works of an artist (or an art-movement by a sentiment index referred to the Art Market. At last I shall show how the art assets’ values are related to an art-call option.

Is this a "Fettecke" or just a "greasy corner"? About the capability of laypersons to differentiate between art and non-art via object's originality.

Science.gov (United States)

Haertel, Manuela; Carbon, Claus-Christian

2014-01-01

Which components are needed to identify an object as an artwork, particularly if it is contemporary art? A variety of factors determining aesthetic judgements have been identified, among them stimulus-related properties such as symmetry, complexity and style, but also person-centred as well as context-dependent variables. We were particularly interested in finding out whether laypersons are at all able to distinguish between pieces of fine art endorsed by museums and works not displayed by galleries and museums. We were also interested in analysing the variables responsible for distinguishing between different levels of artistic quality. We ask untrained (Exp.1) as well as art-trained (Exp.2) people to rate a pool of images comprising contemporary art plus unaccredited objects with regard to preference, originality, ambiguity, understanding and artistic quality. Originality and ambiguity proved to be the best predictor for artistic quality. As the concept of originality is tightly linked with innovativeness, a property known to be appreciated only by further, and deep, elaboration (Carbon, 2011i-Perception, 2, 708-719), it makes sense that modern artworks might be cognitively qualified as being of high artistic quality but are meanwhile affectively devaluated or even rejected by typical laypersons-at least at first glance.

Reducing Medical Students' Stigmatization of People with Chronic Mental Illness: A Field Intervention at the "Living Museum" State Hospital Art Studio

Science.gov (United States)

Cutler, Janis L.; Harding, Kelli J.; Hutner, Lucy A.; Cortland, Clarissa; Graham, Mark J.

2012-01-01

Objective: The authors designed an intervention to reduce beginning medical students' stigmatization of people with chronic mental illness (CMI). Methods: Pre-clinical medical students visited a state psychiatric facility's "Living Museum," a combination patient art studio/display space, as the intervention. During the visit, students interacted…

Fostering Creativity: A Multiple Intelligences Approach to Designing Learning in Undergraduate Fine Art

Science.gov (United States)

Clarke, Angela; Cripps, Peter

2012-01-01

Curriculum and pedagogy in undergraduate fine art can promote an approach to learning creativity that is more about being an artist than knowing about art. Lecturers can provide a road map for developing particular dispositions, in relation to student ideas and perceptions, to foster personalised creativity. This requires that lecturers have an…

Présence Commune, Museum Mohammed VI for Modern and Contemporary Arts (MMVI, Rabat, Morocco, 28.03.2017 - 31.09.2017.

Directory of Open Access Journals (Sweden)

zineb Bahji Bahji

2017-11-01

Full Text Available The present review focuses on the temporary exhibition Presence Commune that was held at Museum Mohammed VI for Modern and Contemporary Arts (MMVI of Rabat, Morocco, from 28 March to 31 September 2017. The review contextualizes the exhibition Presence Commune and examines the communicative strategies it used to convey its messages. It also explains how this artistic event adds to the various artistic and cultural programmes and events that the Moroccan National Foundation of Museums organizes in the course of democratizing access to culture and promoting harmony and tolerance through the universal language of art. The review also shows how the exhibition reflected the role of MMVI in initiating dialogues among artists and visitors from different ethnicities, religions, and African countries, and how it supportedMorocco’s new cultural agenda.Morocco has made cultural diplomacy a priority after the uprisings of the Arab Spring and the rise of religious and ethnic conflicts in the region of North Africa and theMiddle East.

Art and Finance: Fine Art Derivatives

OpenAIRE

Francesco Strati; Laura Quattrocchi

2014-01-01

This work is intended to introduce a new kind of asset, the so called art asset. This financial tool is an asset whose value is related to an art-work, and in particular to the artist reputation. It will be shown the evaluation of an art asset by using a particular kind of volatility, the α-hedging. This tool normalizes the prices volatility of the art-works of an artist (or an art-movement) by a sentiment index referred to the Art Market. At last we shall show how the art assets' values are ...

Matthew Mackisack - Discoveries: Art, Science & Exploration [exposição

Directory of Open Access Journals (Sweden)

Matthew Mackisack

2015-12-01

Full Text Available Being a selection from all eight museums of the University of Cambridge, which concern everything from archaeology to zoology, the diversity of objects on display in Discoveries is remarkable. Cultural artefacts, fossils, western fine art, and scientific instruments, all sit alongside one another. The curators have – for the most part, very effectively – grouped the things into themed sections: “Objects”, “Inscriptions”, “Illuminations”, “Collections”, and “Founders”. The latter two themes in...

When Curriculum Meets Art

Science.gov (United States)

Giardina, Nicola

2016-01-01

A three-year grant program at the Metropolitan Museum of Art in New York City encourages teachers to draw connections between curricular topics and works of art. In this article, museum educator Nicola Giardina describes how the program uses inquiry-based lessons to create meaningful learning experiences for underserved students. She highlights…

The Art of Playful Mobility in Museums

DEFF Research Database (Denmark)

Froes, Isabel Cristina G.; Walker, Kevin

2012-01-01

Many of us interact with other people in online games and social networks, through multiple digital devices. But harnessing playful and mobile activities for museum learning is mostly undeveloped. In this chapter we explore play as a structure to support visitor learning, drawing from internation...

Italy: An Open Air Museum

Science.gov (United States)

Pizzorusso, Ann

2016-04-01

Imagine if you could see the River Styx, bathe in the Fountain of Youth, collect water which enhances fertility, wear a gem that heals bodily ailments, understand how our health is affected by geomagnetic fields, venture close to the flames of Hell on Earth and much, much, more. Know something? These things exist - on Earth - today - in Italy and you can visit them because Italy is an open air museum. Ann C. Pizzorusso, in her recent book, reveals how Italy's geology has affected its art, literature, architecture, religion, medicine and just about everything else. She explores the geologic birth of the land, describing the formation of the Alps and Apennines, romantic bays of Tuscany and Lazio, volcanoes of the south and Caribbean-like beaches of Puglia. But that's not all, from the first pages of this visually stunning book, the reader has the impression of being in an art museum, where one can wander from page to page to satisfy one's curiosity-- guided from time to time by the Etruscan priests, Virgil, Dante, Goethe or Leonardo da Vinci himself. Pizzorusso stitches together widely diverse topics - such as gemology, folk remedies, grottoes, painting, literature, physics and religion - using geology as a thread. Quoting everyone from Pliny the Elder to NASA physicist Friedemann Freund, the work is solidly backed scholarship that reads as easily as a summer novel. Wonderfully illustrated with many photos licensed from Italian museums, HRH Elizabeth II and the Ministero Beni Culturali the book highlights the best works in Italian museums and those outside in the "open air museums." This approach can be used in any other country in the world and can be used for cultural tourism (a tour following the book has been organized for cultural and university groups), an ideal way of linking museums to the surrounding landscape.

The Fine Art in Structure of John Fowles’ Novel “The French Lieutenant’s Woman”

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Oksana Levytska

2013-12-01

Full Text Available The article deals with the role of descriptive context in the structure of John Fowles’ novel “The French Lieutenant’s Woman”. Based on the intermedial analysis there was analyzed the semiotics of fine art in the novel, in particular an appeal to the Pre-Raphaelite art and the Renaissance painting. It was found that John Fowles’ works tend to use the poetics of different kinds of arts: the writer appeals to painting, operates its sign system, recodes signs of visual art by the language of a literary text, expanding the context of its understanding, interpretation and reception. There were studied intermedial connections of the novel with other works of arts. It was found that in the writer’s novels and stories were presented the most clearly visual arts in terms of their classification for the form of sensory perception. Among the arts in relation to time and space are dominated spatial arts: painting, sculpture, architecture, photography, decorative arts. The study focuses on the fine art, especially painting. The descriptive context is multivariation and multifunctional, it has manifestations on a level with the intermedial citation of painting, ekphrasis in landscape or portrait sketches, paintings of visualizing of characters’ imagination, allusions to works of art, etc., explicitly and implicitly represented in the texts. Intermedial analysis allows us to see the relationship of John Fowles’ novel with the Pre-Raphaelite art. In the character context the descriptive component increases literary, cultural and historical contextual characteristics. Introduced in the structure of a literary text the descriptive context on the semiotic level forms the axiological context. The system of ethical and aesthetic values of different cultural eras is extrapolated through the artistic context. So, the article studies the intermedial novel connections with other works of art. The descriptive context of the novel is manifested at

Fine pitch thermosonic wire bonding: analysis of state-of-the-art manufacturing capability

Science.gov (United States)

Cavasin, Daniel

1995-09-01

A comprehensive process characterization was performed at the Motorola plastic package assembly site in Selangor, Malaysia, to document the current fine pitch wire bond process capability, using state-of-the-art equipment, in an actual manufacturing environment. Two machines, representing the latest technology from two separate manufacturers, were operated one shift per day for five days, bonding a 132 lead Plastic Quad Flat Pack. Using a test device specifically designed for fine pitch wire bonding, the bonding programs were alternated between 107 micrometers and 92 micrometers pad pitch, running each pitch for a total of 1600 units per machine. Wire, capillary type, and related materials were standardized and commercially available. A video metrology measurement system, with a demonstrated six sigma repeatability band width of 0.51 micrometers , was utilized to measure the bonded units for bond dimensions and placement. Standard Quality Assurance (QA) metrics were also performed. Results indicate that state-of-the-art thermosonic wire bonding can achieve acceptable assembly yields at these fine pad pitches.

75 FR 36666 - Notice of Intent to Repatriate Cultural Items: Rochester Museum & Science Center, Rochester, NY

Science.gov (United States)

2010-06-28

... and 1941, the Works Progress Administration/Indian Arts Project paid members of the Tonawanda Seneca..., director, Rochester Museum of Arts & Science (now Rochester Museum & Science Center), with the intent of... medicine faces were also created under the auspices of the Works Progress Administration/Indian Arts...

Nuclear methods in the study of fine arts works and in archaelogy

International Nuclear Information System (INIS)

Kollertova, L.

1976-01-01

An outline is presented of fundamental studies on the application of X-ray fluorescence analysis, activation analysis, and some other nuclear methods in the study and the evaluation of fine arts works and in archaeology. (B.S.)

The Museum and the Gifted Child.

Science.gov (United States)

Rogers, Karen B.

1985-01-01

The article presents questioning strategies that can be used when introducing gifted children to the art museum. The strategies utilize eight creative processes and seventeen content, process, and product modifications, based on the differentiation models of Frank Williams and June Maker. A single work of art is used and examples of questions…

appropriate strategies for designing contemporary art museums

African Journals Online (AJOL)

2016-07-16

Jul 16, 2016 ... such as (aesthetic style designed for the set, easy access to the collections and availability of educational .... Thus, any decisions to encounter different cultures can help the ... effect of museum attraction on cultural tourism status in the ..... Making the space dynamic and attractive by providing adequate ...

Content and structure of future teachers’ aesthetic perception of fine and decorative applied art creations

Directory of Open Access Journals (Sweden)

Liudmyla Lisunova

2017-03-01

Full Text Available The content and structure of future teachers’ aesthetic perception of fine and decorativeapplied art creations in the system of professional training are delivered in this article. Thestructural components and stages (phases of aesthetic perception process are determined, therole of art as the most powerful source of reality in the process of future teachers’ aestheticperception of art are revealed.Key words: contents and structure of aesthetic perception, future teachers of art, fineand decorative applied art creations

77 FR 68851 - Sunshine Act Meeting of the National Museum and Library Services Board

Science.gov (United States)

2012-11-16

... Coordinator for Special Events and Board Liaison, Institute of Museum and Library Services, 1800 M Street NW... NATIONAL FOUNDATION ON THE ARTS AND THE HUMANITIES Institute of Museum and Library Services Sunshine Act Meeting of the National Museum and Library Services Board AGENCY: Institute of Museum and...

78 FR 23311 - Sunshine Act Meeting of the National Museum and Library Services Board

Science.gov (United States)

2013-04-18

... policies with respect to the duties, powers, and authority of the Institute relating to museum, library and... NATIONAL FOUNDATION ON THE ARTS AND THE HUMANITIES Institute of Museum and Library Services Sunshine Act Meeting of the National Museum and Library Services Board AGENCY: Institute of Museum and...

Frames as visual links between paintings and the museum environment: An analysis of statistical image properties

Directory of Open Access Journals (Sweden)

Christoph eRedies

2013-11-01

Full Text Available Frames provide a visual link between artworks and their surround. We asked how image properties change as an observer zooms out from viewing a painting alone, to viewing the painting with its frame and, finally, the framed painting in its museum environment (museum scene. To address this question, we determined three higher-order image properties that are based on histograms of oriented luminance gradients. First, complexity was measured as the sum of the strengths of all gradients in the image. Second, we determined the self-similarity of histograms of the orientated gradients at different levels of spatial analysis. Third, we analyzed how much gradient strength varied across orientations (anisotropy. Results were obtained for three art museums that exhibited paintings from three major periods of Western art. In all three museums, the mean complexity of the frames was higher than that of the paintings or the museum scenes. Frames thus provide a barrier of complexity between the paintings and their exterior. By contrast, self-similarity and anisotropy values of images of framed paintings were intermediate between the images of the paintings and the museum scenes, i.e., the frames provided a transition between the paintings and their surround. We also observed differences between the three museums that may reflect modified frame usage in different art periods. For example, frames in the museum for 20th century art tended to be smaller and less complex than in the two other two museums that exhibit paintings from earlier art periods (13th-18th century and 19th century, respectively. Finally, we found that the three properties did not depend on the type of reproduction of the paintings (photographs in museums, scans from books or images from the Google Art Project. To the best of our knowledge, this study is the first to investigate the relation between frames and paintings by measuring physically defined, higher-order image properties.

Art in time and space: context modulates the relation between art experience and viewing time.

Science.gov (United States)

Brieber, David; Nadal, Marcos; Leder, Helmut; Rosenberg, Raphael

2014-01-01

The experience of art emerges from the interaction of various cognitive and affective processes. The unfolding of these processes in time and their relation with viewing behavior, however, is still poorly understood. Here we examined the effect of context on the relation between the experience of art and viewing time, the most basic indicator of viewing behavior. Two groups of participants viewed an art exhibition in one of two contexts: one in the museum, the other in the laboratory. In both cases viewing time was recorded with a mobile eye tracking system. After freely viewing the exhibition, participants rated each artwork on liking, interest, understanding, and ambiguity scales. Our results show that participants in the museum context liked artworks more, found them more interesting, and viewed them longer than those in the laboratory. Analyses with mixed effects models revealed that aesthetic appreciation (compounding liking and interest), understanding, and ambiguity predicted viewing time for artworks and for their corresponding labels. The effect of aesthetic appreciation and ambiguity on viewing time was modulated by context: Whereas art appreciation tended to predict viewing time better in the laboratory than in museum context, the relation between ambiguity and viewing time was positive in the museum and negative in the laboratory context. Our results suggest that art museums foster an enduring and focused aesthetic experience and demonstrate that context modulates the relation between art experience and viewing behavior.

Issue 7: Museum Attendance, Population Shifts, and Changing Tastes

OpenAIRE

Haselhoff, Kim; Ong, Paul M.

2005-01-01

SCS Fact Sheet no. 7 looks at the extent to which Southern California residents attend art and cultural museums. The findings are consistent with other studies, which have found differences in museum attendance based on ethnic and socioeconomic characteristics. We also found similarities in the general rate of museum attendance in the region over the past twenty years, as well as some changes in attendance rates among groups over the past two decades.

Cool Moderne - Art Deco i dansk Billedkunst 1910-40

DEFF Research Database (Denmark)

Gether, Vibeke Petersen

2015-01-01

, der har trukket de store overskrifter op igennem det 20. århundrede herhjemme. Gl. Holtegaard efterprøver nu art deco-begrebet på dansk billedkunst i en udstillingskontekst. Fokus er først og fremmest på maleri og skulptur. Der inddrages i mindre målestok andre visuelle medier som arkitekturtegninger......Udstillingen er udover Victoria & Albert Museum også inspireret af Designmuseum Danmarks udstilling i 1997-98 med titlen Dansk Design 1910-45. Art Déco & Funktionalisme. Selvom udstillingen viste fine eksempler på art deco i dansk design og arkitektur, er det dog først og fremmest funktionalismen......, film, illustrationer, plakater og kunsthåndværk. Med udstillingen vil vi gerne synliggøre de forskellige æstetiske udtryk, som vi mener meget bedre dækkes af betegnelsen art deco i dansk kunst i perioden 1910–1940....

Художник Николай Бодаревский (страницы творческой биографии

Directory of Open Access Journals (Sweden)

Pismak

2017-10-01

Full Text Available Descendant of the old Moldavian nobility family, Nikolai Kornilievich Bodarevsky (1850–1921 was born in Odessa. He graduated from the St. Petersburg Emperors Academy of Fine Arts. From 1869 to 1873 Nikolai Bodarevsky attended the Emperors Academy of Fine Arts, where he studied with Timofey Neff, Vasily Vereshchagin and Piotr Shamshin. Bodarevsky was member of Society for Travelling Art Exhibitions and South-Russian Art Society. Currently, his works are kept in the State Hermitage, the Russian Museum (St. Petersburg, the Tretyakov Gallery (Moscow, Odessa State Literary Museum, Odessa Fine Art Museum and other museums. Portrait of I. Tereshchenko (1891 by Nikolai Bodarevsky, is in the collection of Lugansk Regional Art Museum. His sister, Catherine Petrokokino (nee Bodarevskaya (1852–1930 was also a painter. She also graduated from the Odessa Art School. Nikolai Bodarevsky and Vasily Surikov are in the same year at Academy of Arts. Bodarevsky’s major works include: Portrait of maestro Vasily Safonov; Portraits of famous composers for the Great Hall of the Moscow Conservatory; Icons for Church of Savior on Blood (St. Petersburg; Portrait of Empress Alexandra Feodorovna; “Deep in the forest”; “Ukrainian Girl tending geese”; “Girl reading a Book” and others.

75 FR 30459 - Culturally Significant Objects Imported for Exhibition Determinations: “Dynasty and Divinity: Ife...

Science.gov (United States)

2010-06-01

... temporary exhibition within the United States, are of cultural significance. The objects are imported... display of the exhibit objects at the Museum of Fine Arts, Houston, TX, from on or about September 19, 2010, until on or about January 9, 2011; at the Virginia Museum of Fine Arts, Richmond, VA, from on or...

Picture This: The Art of Using Museum and Science Collaborations to Teach about Climate Change

Science.gov (United States)

Fiondella, F.; Fowler, R.; Davi, N. K.; Gawthrop, E.

2015-12-01

Connecting scientists and their research to photography galleries and museums is an effective way to promote climate literacy among a new, diverse audience. This approach requires creativity and a willingness to reach out to and work with staff unfamiliar with scientific institutions, but can result in broad exposure and understanding of the impacts of climate change. In this presentation we highlight the successful science-art collaboration among the International Center of Photography, Lamont-Doherty Earth Observatory and the International Research Institute for Climate and Society. The collaboration revolved around ICP's 2014-2015 exhibition of renowned photographer Sebastiao Salgado's Genesis, an eight-year worldwide survey of wildlife, landscapes, seascapes and indigenous peoples. Salgado's photographs acted as a springboard for a unique public education program based at ICP and aimed at raising awareness of the urgent issue of climate change. Over the course of six months, Lamont and IRI scientists with expertise in climatology, dendrochronology, seismology and glaciology led gallery tours for the public, making links between their research and the places and people of Salgado's photography. Lamont and IRI staff also gave talks throughout the exhibition period on topics ranging from climate change adaptation to the use of photography to help the public visualize the impacts of Earth's changing climate. The research institutions also took over ICP's Instagram feed for a week, showcasing the climate-related field work of more than a dozen scientists. All three institutions, the participating scientists and program attendees deemed the collaboration a success. We'll explain what made this collaboration successful and provide tips on how scientists and their institutes can form similar collaborations with museums and other arts-based organizations.

Adding life to your years: Transformative learning for older people at the Irish Museum of Modern Art.

OpenAIRE

Fleming, Dr Ted

2000-01-01

Life expectancy has increased by 30 years during the past century. By 2150 the percentage of the world’s population over 65 will be 30%, up from 7% at present. A high percentage of older people are actively involved in adult education (Lamdin and Fugate, 1997, p. 85). During the United Nations International Year of Older Persons (1999) the Irish Museum of Modern Art (IMMA), with EU SOCRATES funding, undertook a study of its education work with members of St. Michael's Parish Active ...

Facing Sound - Voicing Art

DEFF Research Database (Denmark)

Lønstrup, Ansa

2013-01-01

This article is based on examples of contemporary audiovisual art, with a special focus on the Tony Oursler exhibition Face to Face at Aarhus Art Museum ARoS in Denmark in March-July 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience´s...... interactions with the exhibition and the artwork in the museum space and short analyses of individual works of art based on reception aesthetics and phenomenology and inspired by newer writings on sound, voice and listening....

From Rupture to Resonance: Uncertainty and Scholarship in Fine Art Research Degrees

Science.gov (United States)

Simmons, Beverley; Holbrook, Allyson

2013-01-01

This article focuses on the phenomenon of "rupture" identified in student narratives of uncertainty and scholarship experienced during the course of Fine Art research degrees in two Australian universities. Rupture captures the phenomenon of severe disruption or discontinuity in existing knowledge and typically signifies epistemological…

Myths, Mummies and Museums.

Science.gov (United States)

Norby, Shirley

1979-01-01

Greek mythology, Egyptian mummies, and the Metropolitan Museum of Art in New York City are the focus of a one-semester course given at the Sea Girt (New Jersey) Elementary School. It is an interdisciplinary program wherein students (grade 8) study ancient civilizations and do projects related to their studies. (KC)

Alternative legacies: Artist projects in history museums & the importance of context

Directory of Open Access Journals (Sweden)

Lyndsey Boekenkamp

2013-06-01

Full Text Available The primary focus of this paper is to investigate why artists are drawn to working in history museums, and how an artist-driven critique of museum practices encourages dialogue about artistic and historical authority, and the role of the museum. Drawing from the fields of public history, art history, anthropology, and journalism, this study argues that artists play an important role in fostering multiple interpretations within traditional historical and academically informed museum practices. The primary theorists influencing this study include Art Historian, Douglas Crimp and his analysis of postmodernism; Professor of Art Education, Dipti Desai and her theory of ethnographic shift; Modern European Historian, Susan Crane and her theory of disruption or “excess of memory”; English Professor, Bettina Carbonell and her theory of “bearing witness”; and Patricia Romney’s analysis of Russian Philosopher, Mikhail Bakhtin and his theory of dialogism. As an outgrowth of this pre-existing scholarship, this study sought to prove that artists were better positioned to intervene in and manipulate traditional museum practices, not because they helped facilitate shared authority, but because they asserted their own artistic authority in the creation of alternative narratives. Through an analysis comparing Fred Wilson’s installation Liberty/Liberte—shown first in the 2006-2007 exhibition Legacies: Contemporary Artists Reflect on Slavery at the New-York Historical Society, and then in its current placement as part of the Historical Society’s official renovations—this study instead concludes that artists are more than capable of successful interventions in non-art environments – specifically, history museums. However, the context in which the artwork is placed, as well as the conversation between the artist and the institution throughout the duration of any project, has the power to make or break the success of these artist interventions.

Art and Architectural Space

DEFF Research Database (Denmark)

Unterrainer, Walter

2014-01-01

art and architectural space museums and other exhibition spaces or how artists learn to love architects Over the last two decades, innumerable new museums, art galleries and other exhibition spaces have been built and opened all over the globe. The most extreme growth happened in China, where...... purpose of ´uniqueness´ often fail to be a ´home´, a large scale ´picture frame´ or a productive space for communicating art and even do not fulfil basic technical aspects in terms of a consistent indoor climate, optimized lighting or safety. The lecture will focus on inspiring examples of spaces for art...

Arts and science under the sign of Leonardo. The case of the National Museum of Science and Technology ‘Leonardo da Vinci’ of Milan

Directory of Open Access Journals (Sweden)

Claudio Giorgione

2009-06-01

Full Text Available Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.

Paradigma Baru Dalam Museum Seni dan Budaya Jawa Ullen Sentalu

Directory of Open Access Journals (Sweden)

Amarena Nediari

2011-04-01

Full Text Available The existence of the museum building as  conservation collection of historic objects often give the impression that the museum is an ancient building, dark and disheveled. While the new paradigm in the management of the museum is a museum not only as a place to store historical objects, but need to present the collection in an attractive package so that visitors interested in coming back again to the museum. Museum of art and culture of Java Ullen Sentalu, in Kaliurang has provided a new insight to the culture, especially Javanese culture in the family palace of Yogyakarta and Solo Palace. The main attraction of this Sentalu Ullen is to deliver information about the historic collection from the family palace is presented as a whole, so that leaves a deep impression for visitors. This museum has given the world a new concept in museums in Indonesia, which certainly can be applied to other museums in Indonesia.  

Analysis of an Unusual Mirror in a 16th-Century Painting: A Museum Exercise for Physics Students

Science.gov (United States)

Swaminathan, Sudha; Lamelas, Frank

2017-04-01

Physics students at Worcester State University visit the Worcester Art Museum (WAM) at the end of a special 100-level course called Physics in Art. The students have studied geometrical optics, and they have been introduced to concepts in atomic physics. The purpose of the museum tour is to show how physics-based techniques can be used in a nontraditional lab setting. Other examples of the use of museum-based art in physics instruction include analyses of Pointillism and image resolution, and of reflections in soap bubbles in 17- and 18th-century paintings.

Dissociative Experiences, Creative Imagination, and Artistic Production in Students of Fine Arts

Science.gov (United States)

Perez-Fabello, Maria Jose; Campos, Alfredo

2011-01-01

The current research was designed to assess the influence of dissociative experiences and creative imagination on the artistic production of Fine Arts students of the University of Vigo (Spain). The sample consisted of 81 students who were administered the Creative Imagination Scale and The Dissociative Experiences Scale. To measure artistic…

Critical Adult Education and the Art Gallery Museum

Science.gov (United States)

Clover, Darlene E.

2018-01-01

Although burdened by legacies of elitism, exclusion and paternalism, some public museums are attempting to respond to the socio-environmental problems currently facing our planet by developing critical non-formal educational activities to foster consciousness and change. This article explores one such response; a six-week non-formal course…

The Materiality of Museum Politics

DEFF Research Database (Denmark)

Bjerregaard, Peter

on the agency of objects that assert that ‘art objects' (in a wide definition of the concept) are not simply materialisation of culture or identity, but deliberate attempts to change the social world. Furthermore, empirical examples of community ownership, and reinterpretation of museum collections may cause...

The effects of visual context and individual differences on perception and evaluation of modern art and graffiti art.

Science.gov (United States)

Gartus, Andreas; Klemer, Nicolas; Leder, Helmut

2015-03-01

Traditionally, artworks are seen as autonomous objects that stand (or should stand) on their own. However, at least since the emergence of Conceptual Art in the 1920s and Pop Art in the 1960s, art lacks any distinctive perceptual features that define it as such. Art, therefore, cannot be defined without reference to its context. Some studies have shown that context affects the evaluation of artworks, and that specific contexts (street for graffiti art, museum for modern art) elicit specific effects (Gartus & Leder, 2014). However, it is yet unclear how context changes perception and appreciation processes. In our study we measured eye-movements while participants (64 psychology undergraduates, 48% women) perceived and evaluated beauty, interest, emotional valence, as well as perceived style for modern art and graffiti art embedded into either museum or street contexts. For modern art, beauty and interest ratings were higher in a museum than in a street context, but context made no difference for the ratings of graffiti art. Importantly, we also found an interaction of context and individual interest in graffiti for beauty and interest ratings, as well as for number of fixations. Analyses of eye-movements also revealed that viewing times were in general significantly longer in museum than in street contexts. We conclude that context can have an important influence on aesthetic appreciation. However, some effects depend also on the style of the artworks and the individual art interests of the viewers. Copyright © 2015 Elsevier B.V. All rights reserved.

Monuments devoted to artists in public spaces around museums: A nineteenth-century strategy to enhance the urban space of art districts

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Lorente, J. Pedro

2014-12-01

Full Text Available Monuments to kings or military heroes have always been positioned in main squares and avenues, whilst those erected to famous cultural figures were a novelty introduced in the Enlightenment and Romanticism, placing busts or sitting monuments to writers or musicians in secluded gardens and in the surroundings of libraries, theatres, etc. During the nineteenth century, monuments to artists became also a common feature in many cities, where a most likely emplacement for them was in front of some art museum. In a way, they were a complement to the ornaments of such building, usually decorated with portraits and inscriptions glorifying great artists; but the monument to Murillo erected in 1863 by public subscription in Seville's Plaza del Museo was also an urban milestone, catching the attention of promenading public passing along a lateral street. Later, the monuments erected in the piazzas around the Prado Museum in Madrid, or in gardens outside the Louvre, became a popular prototype, emulated in many other cities up to the early 20th century. Their role as interfaces between public spaces and museum sites would thereafter be taken over by other kinds of artistic landmarks: not monuments to artists, but monumental artworks, often owned by the museum itself, thus bringing part of its collection outside, as a welcome starter to prospective cultural consumers.

"Being an Artist You Kind of, I Mean, You Get Used to Excellence": Identity, Values and Fine Art Assessment Practices

Science.gov (United States)

Orr, Susan

2011-01-01

In this article I report on a study into fine art lecturers' assessment practices in higher education. This study explores the ways that lecturers bring themselves into the act of assessment (Hand & Clewes 2000). I interviewed twelve fine art lecturers who worked across six English universities. Lecturers were asked to relate to me how they…

Awakening Objects and Indigenizing the Museum: Stephen Gilchrist in Conversation with Henry F. Skerritt

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Stephen Gilchrist

2016-11-01

Full Text Available Curated by Stephen Gilchrist, Everywhen: The Eternal Present in Indigenous Art from Australia was held at Harvard Art Museums from February 5, 2016–September 18, 2016. The exhibition was a survey of contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. The exhibition included more than seventy works drawn from public and private collections in Australia and the United States, and featured many works that have never been seen outside Australia. Everywhen is Gilchrist’s second major exhibition in the United States, following Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art in 2012. Conducted on April 22, 2016, this conversation considers the position of Indigenous art in the museum, and the active ways in which curators and institutions can work to “indigenize” their institutions. Gilchrist discusses the evolution of Everywhen, along with the curatorial strategies employed to change the status of object-viewer relations in the exhibition. The transcription has been edited for clarity.

Producing access for the elderly to territories of culture: an experience of occupational therapy in an art museum

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Ana Tereza Costa Galvanese

2014-04-01

Full Text Available From 1996 to 2009, the Laboratory for Studies and Research in Art, Body and Occupational Therapy established a cooperation with the Museum of Contemporary Art of USP (MAC USP, working in partnership with the Leisure and Art to the Elderly Program of the Education and Technical-Scientific Division of MAC USP. The program offers an introduction in contemporary artistic practice to the elderly. This paper presents the interdisciplinary experience developed in this partnership in 2006. The method adopted in the program is referenced in the Triangular Approach to Teaching Art. Therefore, the appreciation of works of art and the contextualization of selected artists formed the basis on which participants developed their own poetics. The preparatory work was developed in group dynamics, including activities of body awareness and conversation circles coordinated by occupational therapists and students. They also accompanied the participants in their demands related to the challenges of constructing access to socio-cultural territories. The relevance of this living process was evident in the topics proposed by participants in conversations, or arisen during the body work. The aesthetic quality of the participants’ production resulted in personal and collective satisfaction and provoked admiration of the public who visited the workshop and exhibition, organized from this production.

MFA Connections: Three Themes for Teacher-Guided Visits to the Museum of Fine Arts, Boston.

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Foote, Allison; And Others

This teacher resource packet encourages exploration of history and culture through art images. The packet consists of three units: "Daily Life around the World," which explores the rituals of daily life in ancient Egypt, China, and Greece, as well as colonial and turn-of-the-century America. "Images of Power," examines the…

Radiation preservation of cultural and museum objects

International Nuclear Information System (INIS)

Urban, J.

1985-01-01

The possibilities are summed up of using ionizing radiation for the treatment of museum collections, namely the biocidal effect of radiation on living organisms. An approximate assessment is made of the extent of damage to art and book collections by biological pests. Radiation preservation is compared with conventional methods which are unsatisfactory, because they do not affect deeper layers of materials. Experience is summed up with the use of radiation preservation in the Central Bohemian Museum in Roztoky. (J.C.)

An Exploration of Motivations of Fine Art Students in Relation to Mental and Physical Well-Being

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Elias, Damian M. G.; Berg-Cross, Linda

2009-01-01

College art students are an overlooked minority population whose culture, career motivations, and mental health risks have not been studied, and there has been little to no specialized outreach to this population. This article describes the stereotypes associated with fine art students and the data available that confirms or refutes those…

Body Talk: Examining a Collaborative Multiple-Visit Program for Visitors with Eating Disorders

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Baddeley, Gwen; Evans, Laura; Lajeunesse, Marilyn; Legari, Stephen

2017-01-01

"Sharing the Douglas/Sharing the Museum," a collaboration program of the Montreal Museum of Fine Arts (MMFA), the Douglas Mental Health Institute and the Department of Creative Arts Therapies at Concordia University, serves patients from the Eating Disorder Unit of the Douglas. Participants eat lunch at the museum and look at, talk…

PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)

OpenAIRE

Teresa Grzybkowska

2017-01-01

Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about h...

Musei, raccolte e collezioni in Puglia / Museums and collections in Puglia

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Francesca Imperiale

2012-12-01

Full Text Available Il lavoro illustra un’indagine sui musei di Puglia, come conseguenza delle lacune normative e conoscitive esistenti sul tema e della recente estensione del fenomeno a livello locale. Ci si interroga in particolare se tutte le realtà promosse come istituti museali siano dei musei secondo gli standard prevalentemente conosciuti ed applicati. In tale direzione, il lavoro, articolato in quattro paragrafi, approfondisce dapprima il significato del concetto di museo, a livello normativo e dottrinale, contrapposto a quello di raccolta o collezione. Successivamente, dopo una breve descrizione sulle origini, normativa regionale e stato dell’arte dei musei di Puglia, espone il modello di analisi sviluppato per distinguere i “veri” musei dalle “semplici” raccolte o collezione. In conclusione riporta i risultati conseguiti dall’analisi di 85 musei pugliesi ed alcune osservazioni sullo scenario emerso e sul modello di analisi sviluppato.   This paper has, as starting point, a survey about museums of Puglia. The main question is if all these museum institutions are real museums or not. With this purpose, this research deepens two main aspects. The first one is to understand the meaning of the museum concept, focusing on normative and doctrinal levels, and the differences between a museum institution and a collection. Then, after a brief description about the museum origins, the regional normative, and the museums of Puglia state of the art, the paper presents the analysis model developed in order to distinguish between “real” museums and “mere” collections. The conclusion of this research shows the analysis results of 85 museums of Puglia and some observations based on the emerging context and the analysis model.

Las Bellas Artes como Terapia en Aristóteles The Fine Arts as Therapy in Aristotle

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Sergio González A

2010-01-01

Full Text Available Desde Homero en adelante, los textos griegos abundan en menciones a la función terapéutica de las bellas artes. En los diálogos platónicos se encuentra el sistema más acabado respecto a este tema en sus diversas manifestaciones, sin embargo los múltiples análisis aristotélicos se encuentran dispersos y aislados. Para empezar, se expone la visión de la salud como armonía en el pensamiento de Aristóteles, a continuación se describen y comparan los conceptos de tékhne y phrónesis, se demuestra la necesidad del arte para la paideía, y se detalla el uso terapéutico de diferentes artes para preservar o restaurar la salud.From Homer onwards, Greek texts show abundant references to the therapeutic applications of the fine arts. The most complete system dealing with this issue in its diverse manifestations is to be found in the Platonic dialogues. However, Aristotle's manifold analyses are scattered and isolated. First, the view of health as harmony in Aristotle's thought is expounded, then the concepts of tékhne and phrónesis are described and compared, the necessity of art to paideía is demonstrated, and finally the therapeutic use of the different arts in order to preserve or restore health is examined'm detall.

Museopathy: Exploring the Healing Potential of Handling Museum Objects

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Helen Chatterjee

2009-11-01

Full Text Available To coincide with emerging arts and health practices, University College London Museums & Collections and University College London Hospitals Arts partnered to create a pilot project, entitled “Heritage in Hospitals”, which sought to assess whether handling museum objects has a positive impact on patient wellbeing. Quantitative data from 32 sessions conducted with patients in May through July (inclusive of 2008 demonstrated, on average, an increase in self-reported measures of life satisfaction and health status after handling museum objects. Constant comparative analysis of the qualitative data collected from the sessions revealed two major recurring themes: “impersonal/educational” and “personal/reminiscence”. The first theme included instances where handling museum objects allowed patients to access truths about the objects ascertainable solely through touch (such as gauging weight, texture, temperature, and spatial relation to the body, to verify what was seen, to facilitate an intimate and imaginative connection with the museum objects and their origins, to investigate and explore the objects, to permit an interaction with the “rare” and “museum-worthy”, and to assist with aesthetic appreciation. The second theme illustrated the project’s potential to assist with counselling on issues of illness, death, loss and mourning, and to help restore dignity, respect and a sense of identity (particularly among elderly patients by providing a springboard for reminiscing and the telling of life stories in a highly institutionalized setting. This paper contextualizes the project, explores the implications of the project’s methodology and its findings, and provides questions for future research.

77 FR 25780 - Culturally Significant Objects Imported for Exhibition Determinations: “Rembrandt, Van Dyck...

Science.gov (United States)

2012-05-01

... House, London,'' imported from abroad by the American Federation of Arts for temporary exhibition within... interest: the Museum of Fine Arts Houston from on or about June 3 to on or about September 4, 2012; the Milwaukee Museum of Art from on or about October 4, 2012 to on or about January 6, 2013; the Seattle Art...

Colliding worlds how cutting-edge science is redefining contemporary art

CERN Document Server

Miller, Arthur I

2014-01-01

In recent decades, an exciting new art movement has emerged in which artists illuminate the latest advances in science. Some of their provocative creations - a live rabbit implanted with the fluorescent gene of a jellyfish, a gigantic glass-and-chrome sculpture of the Big Bang itself - can be seen in traditional art museums and magazines, while others are being made by leading designers at Pixar, Google's Creative Lab and the MIT Media Lab. Arthur I. Miller takes readers on a wild journey to explore this new frontier. From the movement's origins a century ago - when Einstein shaped Cubism and X-rays affected fine photography - to the latest discoveries of biotechnology, cosmology and quantum physics, Miller shows how today's artists and designers are producing work at the cutting edge of science.

25 CFR 309.22 - What are examples of painting and other fine art forms that are Indian products?

Science.gov (United States)

2010-04-01

... 25 Indians 2 2010-04-01 2010-04-01 false What are examples of painting and other fine art forms that are Indian products? 309.22 Section 309.22 Indians INDIAN ARTS AND CRAFTS BOARD, DEPARTMENT OF THE INTERIOR PROTECTION OF INDIAN ARTS AND CRAFTS PRODUCTS § 309.22 What are examples of painting and other...

Fine Arts: 4. Proposals Regarding Work Strategies in Visual Arts Activities II. Creating an Interrogative Attitude

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Aprotosoaie-Iftimi Ana-Maria

2018-03-01

Full Text Available Between the age of six and eleven, children easily express themselves through drawing. After this age, there is a blockage due to the development of critical thinking. If during the 6 - 11 age stage children draw using symbol schemes, reporting what they remember and what they understood from what they saw, after the age of 10-11 (secondary phase children want to draw what they see and thus they face challenges related to technical means and language specific for arts. In this regard, a mediation is necessary between the technical means and the artwork or reproductions of fine art (either in albums, or displayed on a screen using guided questions. This process, that over the years of teaching proved its efficiency, contributes to the development of students’ imagination and creativity, and to the formation of a useful general culture.

Bringing New Families to the Museum One Baby at a Time

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Herman, Alicia

2012-01-01

"Bring Your Baby to the Danforth Museum of Art" is a program for mothers. Unlike other museum programs that focus on the needs of children, Bring Your Baby caters to the intellectual interests of the adult parent. Parents learn about artworks, play with babies in a beautiful environment, and socialize with other families. The program is…

Arts and science under the sign of Leonardo. The case of the National Museum of Science and Technology ‘Leonardo da Vinci’ of Milan (Italian original version

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Claudio Giorgione

2009-06-01

Full Text Available Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.

Building Maintenance Management System for Heritage Museum

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Md Azree Othuman Mydin

2012-09-01

Full Text Available An investment in the building maintenance aspect is massive throughout the world. In most of the countries, it signifies approximately 50% of the entire revenue of the construction industry. The value of buildings depends on the eminence of the maintenance invested in them. Maintenance management engages obtaining utmost advantage from the investment made on the maintenance activities. At the moment, maintenance in buildings in Malaysia is on the increase in spite of size, category, location, and ownership. This study focuses on Building Maintenance Management System for Heritage Museum, which consists of two case studies in Penang State Museum and Art Gallery, Malaysia and Museum of Perak, Malaysia. The aim of this study is to propose methods to improve the maintenance management system for heritage museum. From the results, the common problem occurs during the implementation for the maintenance of each building is the budget for the maintenance and worker’s skill. The department of each museum must have their own maintenance unit to keep an eye on the maintenance activities for their buildings in order to improve the maintenance management system in their building.

Application of instrumental neutron activation and X-ray fluorescence analysis to the examination of objects of art

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Panczyk, E.; Ligeza, M.; Walis, L.

1999-01-01

In the Institute of Nuclear Chemistry and Technology in Warsaw in collaboration with the Department of Preservation and Restoration of Works of Art of the Academy of Fine Arts in Cracow and National Museum in Warsaw systematic studies using nuclear methods, particulary instrumental neutron activation analysis and X-ray fluorescence analysis, have been carried out on the panel paintings from the Krakowska- Nowosadecka School and Silesian School of the period from the XIV-XVII century, Chinese and Thai porcelains and mummies fillings of Egyptian sarcophagi. These studies will provide new data to the existing data base, will permit to compare materials used by various schools and individual artists.

Application of instrumental neutron activation and X-ray fluorescence analysis to the examination of objects of art

International Nuclear Information System (INIS)

Panczyk, E.; Ligeza, M.; Walis, L.

1999-01-01

In the Institute of Nuclear Chemistry and Technology in Warsaw in collaboration with the Department of Preservation and Restoration of Works of Art of the Academy of Fine Arts in Cracow and National Museum in Warsaw systematic studies using nuclear methods, particularly instrumental neutron activation analysis and X-ray fluorescence analysis, have been carried out on the panel paintings from the Krakowska-Nowosadecka School and Silesian School of the period from the XIV-XVII century, Chinese and Thai porcelains and mummies fillings of Egyptian sarcophagi. These studies will provide new data to the existing data base, will permit to compare materials used by various schools and individual artists. (author)

Musealization without museology: national museums and fashion exhibitions between history, theory and practice

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Stefan Žarić

2016-03-01

Full Text Available Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.

Monitoring Of Pollutants In Museum Environment

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Ana-Maria Budu

2015-10-01

Full Text Available Art works are affected by environmental factors as light, temperature, humidity. Air pollutants are also implicated in their degradation. The pollution in museums has two sources: the air from outside, which brings usually dust and inorganic particles, and the inside sources – the materials used for casings (sealants, textiles placed on the display cases, varnishes, wood that emanate organic compounds. The dust is composed of particles with a diameter of approximately 2µm or higher, which come from soil (silica or animal and vegetal residues (skin cells, pollen. They facilitate water condensation on objects surface and biologic attack. The inorganic compounds are a result of materials combustion (SO2, NO2, NO and in presence of water they form acidic compounds which affect the museum objects. The organic compounds are usually peroxides, acids, phthalates, formaldehyde. The effects of these pollutants are: soiling, surface discolouration, embrittlement, corrosion. Therefore, conservators are interested in monitoring the pollution degree in the display cases or in the museum air and in analyzing the effects of pollutants on the exhibited objects. They use different methods for pollutants identification, like direct reading devices based on colorimetry, that can be read after few minutes and hours (they interact with the pollutants in atmosphere, or indirect reading samples that require a laboratory. The information gathered is used for the identification of pollution source and to analyze the concentration of pollutants needed to provoke damages on the surfaces of art objects. This paper is a review of pollutants that affect the art objects and of the monitoring systems used for their identification and measuring.

Recommendations based on semantically enriched museum collections

NARCIS (Netherlands)

Wang, Y.; Stash, N.; Aroyo, L.M.; Gorgels, P.; Rutledge, L.W.; Schreiber, G.

2008-01-01

This article presents the CHIP demonstrator1 for providing personalized access to digital museum collections. It consists of three main components: Art Recommender, Tour Wizard, and Mobile Tour Guide. Based on the semantically enriched Rijksmuseum Amsterdam2 collection, we show how Semantic Web

Prague: The City Is the Museum.

Science.gov (United States)

Meilach, Dona Z.

2001-01-01

States that Prague, the capital of the Czech-Republic, is a virtual art museum because of the number of architectural styles and other artworks throughout the city. Explores the various architectural styles that are present in the city from the Gothic monasteries and churches to examples of contemporary styles. (CMK)

Museum activities in dementia care: Using visual analog scales to measure subjective wellbeing.

Science.gov (United States)

Johnson, Joana; Culverwell, Alison; Hulbert, Sabina; Robertson, Mitch; Camic, Paul M

2017-07-01

Introduction Previous research has shown that people with dementia and caregivers derive wellbeing-related benefits from viewing art in a group, and that facilitated museum object handling is effective in increasing subjective wellbeing for people with a range of health conditions. The present study quantitatively compared the impact of two museum-based activities and a social activity on the subjective wellbeing of people with dementia and their caregivers. Methods A quasi-experimental crossover design was used. People with early to middle stage dementia and caregivers ( N = 66) participated in museum object handling, a refreshment break, and art viewing in small groups. Visual analog scales were used to rate subjective wellbeing pre and post each activity. Results Mixed-design analysis of variances indicated wellbeing significantly increased during the session, irrespective of the order in which the activities were presented. Wellbeing significantly increased from object handling and art viewing for those with dementia and caregivers across pooled orders, but did not in the social activity of a refreshment break. An end-of-intervention questionnaire indicated that experiences of the session were positive. Conclusion Results provide a rationale for considering museum activities as part of a broader psychosocial, relational approach to dementia care and support the use of easy to administer visual analog scales as a quantitative outcome measure. Further partnership working is also supported between museums and healthcare professionals in the development of nonclinical, community-based programs for this population.

Sahara Coal: the fine art of collecting fines for profit

Energy Technology Data Exchange (ETDEWEB)

Schreckengost, D.; Arnold, D.

1984-09-01

A considerable increase in the volume of fines in rom coal caused Sahara Coal in Illinois to redesign the fine coal system in their Harrisburg preparation plant. Details of the new design, and particularly the fine refuse system which dewaters and dries 28 mesh x O clean coal, are given. Results have exceeded expectations in reducing product losses, operating costs and slurry pond cleaning costs.

Archaeology, museums and virtual reality

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Laia Pujol

2004-04-01

Full Text Available This article looks at the idea that the virtual archaeological reconstructions seen in museums cannot be considered Virtual Reality (VR as they are based on an artistic conception of the discipline. The cause is to be found in the origins of Archaeology, which began in the 18th century and was closely linked to the History of Art. In the era of New Technologies, this concept has become both the cause and the consequence: determining the characteristics of VR from within the discipline, whilst simultaneously reinforcing the virtual reconstructions.To assess the relationship between VR and Archaeology, we must first establish a definition of Virtual Reality. Subsequently, we can take a brief look at the history so as to be able to understand the evolution of Archaeology and museums. This leads us to the analysis of some examples of VR in museums, from which we can gain conclusions on the current use of VR. Finally, we look at the possibilities for VR in terms of publicising Archaeology.

COMPARATIVE CHARACTERISTIC OF TOURIST POTENTIAL OF MUSEUMS OF KRASNODAR REGION

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Svetlana V. Kirilicheva

2017-01-01

Full Text Available Aim. The article describes the tourist potential of two large museums of the Krasnodar Territory, the Krasnodar State Historical and Archaeological Museum-Reserve named after E.D. Felitsyn and Krasnodar Regional Art Museum named after F.A. Kovalenko. Much attention is paid to the classification of museums in the Krasnodar Territory. Methods. In the study were used a comparative-geographical method, a systematic approach, an analysis of statistical-mathematical materials and an analysis of the leisure profile of citizens. Findings. A comparative assessment of the potential of two large museums of the region is given. We also conducted an analysis of the survey data of the leisure profile among the townspeople in the city of Krasnodar in order to identify which of the museums is more popular. The main indicators such as the number of storage units, the total exposition and exhibition area, the number of sightseeing visits and mass events, the number of educational programs and exhibitions, the number of employees were examined and analyzed. Distinctions between museums are also noted. Conclusions. An analysis of these data showed that both museums have sufficient tourist potential to represent the city and get acquainted with the city through museums. The results of an analysis of events held in museums to attract visitors are presented. The sufficient tourist potential of two large museums for representation of the city and region is defined. The directions for their development as objects of tourism are proposed.

The Contemporary Museum as a Site for Displaying Values

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Mare Kõiva

2007-12-01

Full Text Available Museums constitute an important cultural and social resource. The main objective of museums is making certain objects in the collection visible or, on the contrary, leaving them invisible. In contemporary society the institution serves many important roles, being a place for displaying historical and contemporary values, an institution for preserving and displaying personal and collective memory, cultural values, for collecting tangible and intangible values, an institution for creating identity and ethnic kudos, a work place, an educational environment, a framework for promoting ethnic handicraft and art, a place for integrating different folklore festivals, exhibitions, shows; they are connected to tourism patterns and museum business. The article reflects the changes in the development of museums in the late twentieth and early twenty-first century, focusing on the main key words being multifunctional museum, the museum as an open classroom, presentation of tangible and intangible history, the relation and mergence of permanent and temporary exhibitions. The issues of digitalization and preservation and the role of the exhibition curator and the person represented on displays have increased in the museology of the past few decades. The museums’ tradition of self-replication and an increased interest in museological anthropology indicate that museums fulfil an important role in society.

The Contemporary Museum as a Site for Displaying Values

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Mare Kõiva

2011-03-01

Full Text Available Museums constitute an important cultural and social resource. The main objective of museums is making certain objects in the collection visible or, on the contrary, leaving them invisible. In contemporary society the institution serves many important roles, being a place for displaying historical and contemporary values, an institution for preserving and displaying personal and collective memory, cultural values, for collecting tangible and intangible values, an institution for creating identity and ethnic kudos, a work place, an educational environment, a framework for promoting ethnic handicraft and art, a place for integrating different folklore festivals, exhibitions, shows; they are connected to tourism patterns and museum business. The article reflects the changes in the development of museums in the late twentieth and early twenty-first century, focusing on the main key words being multifunctional museum, the museum as an open classroom, presentation of tangible and intangible history, the relation and mergence of permanent and temporary exhibitions. The issues of digitalization and preservation and the role of the exhibition curator and the person represented on displays have increased in the museology of the past few decades. The museums’ tradition of self-replication and an increased interest in museological anthropology indicate that museums fulfil an important role in society.

Ultra-Stable, New Generation Q-Switched Monolithic Laser Cleaners for Fine Art Conservation

Science.gov (United States)

Brioschi, F.; Salvadeo, P.

The increasing use of laser cleaners in fine art conservation boosts the demand on improvements of the laser performances. More power and more wavelengths are required by the current applications, while laser should be more reliable, rugged and compact. The characteristics and performances of a new generation of laser cleaners are presented as a result of a dedicated research and development program.

Postmodern Exhibition Discourse: Anthropological Study of an Art Display Case.

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Marta Wieczorek

2015-12-01

Full Text Available The article studies tendencies in contemporary museum exhibitions and art display trends. While analysing current status quo of art in the museum context, it discusses the limitations of curatorial impact on the audience perception of the displayed objects. The paper presents a case study of a permanent museum exhibition with an added performance element. As argued in the article, such approach allows a stratified narrative and provokes a dialogue between the audience, performers, and curators, fully reflecting postmodern polyphonic tendency. The aim of the article is to comment on postmodern trends in museology, the status of the displayed art (object, and contemporary exhibition identity.

Practical Study on Treatment of Selected Decorated Tapestry in Applied Art Museum, Cairo

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Neven Kamal FAHIM

2013-12-01

Full Text Available The paper presents the method of treatment of tapestry textile, that considers the most common technique used in decoration of textile since the new kingdom until now, it is called Kabaty. The paper deals with selected piece of museum of Applied Art Faculty in Cairo. Treatment procedure was performed by several stages; firstly, Dating by comparing the decoration technique, the type of material and the decorative motifs existed in the object with another one known its date. Then samples taken from object were examined by optical microscope, scanning electron microscope to identify type of fibers and surface morphology .x-ray analysis was performed to identify mordant and dust. FTIR analysis to identify dyes in dyed samples. Then, the paper deal with the treatment of tapestry pieces by testing sensitive of fiber to water, mechanical cleaning and chemical cleaning to remove stain, washing stage using distilled water, and finally consolidation the object by fixed on support of natural linen which was stretched on wooden frame treated by anti-fungal substance.

Refining the Eye: Dermatology and Visual Literacy

Science.gov (United States)

Zimmermann, Corinne; Huang, Jennifer T.; Buzney, Elizabeth A.

2016-01-01

In 2014 the Museum of Fine Arts Boston and Harvard Medical School began a partnership focused on building visual literacy skills for dermatology residents in the Harvard Combined Dermatology Residency Program. "Refining the Eye: Art and Dermatology", a four session workshop, took place in the museum's galleries and utilized the Visual…

76 FR 35068 - Culturally Significant Objects Imported for Exhibition Determinations; “Monet/Lichtenstein: Rouen...

Science.gov (United States)

2011-06-15

... for temporary exhibition within the United States, are of cultural significance. The objects are... exhibition or display of the exhibit objects at the Museum of Fine Arts, Boston, Boston, Massachusetts, from on or about July 3, 2011, until on or about September 18, 2011, the Los Angeles County Museum of Art...

The effects of the Dutch museum pass on museum visits and museum revenues

NARCIS (Netherlands)

van der Werff, S.; Koopmans, C.; Boyer, C.

2014-01-01

The Dutch museum pass gives unlimited access for a year to most major Dutch museums and around the half of all Dutch museums for a fixed fee. The fee revenues are distributed among participating museums in proportion to the amount of visits by pass holders and their ticket prices. In this paper, it

76 FR 27742 - Culturally Significant Objects Imported for Exhibition Determinations: “Picasso: Masterpieces...

Science.gov (United States)

2011-05-12

...[eacute]e National Picasso, Paris,'' imported from abroad for temporary exhibition within the United... Fine Arts Museums of San Francisco, de Young Museum, San Francisco, California, from on or about June...

A fine art

Energy Technology Data Exchange (ETDEWEB)

Schnabel, G.; Raaff, T. [Andritz AG (Austria)

2006-07-15

The paper describes a new dewatering system for coal fines which challenges established processes by using screenbowl centrifuge and hyperbaric filter combinations. Company acquisitions over the past three to four years enabled Andritz AG to develop a new system combining two technologies. The article describes the benefits of the combination process and explains the basic operation of these machines. 4 figs.

Visual art and visual perception

NARCIS (Netherlands)

Koenderink, Jan J.

2015-01-01

Visual art and visual perception ‘Visual art’ has become a minor cul-de-sac orthogonal to THE ART of the museum directors and billionaire collectors. THE ART is conceptual, instead of visual. Among its cherished items are the tins of artist’s shit (Piero Manzoni, 1961, Merda d’Artista) “worth their

Smart SfM: Salinas Archaeological Museum

Science.gov (United States)

Inzerillo, L.

2017-08-01

In these last years, there has been an increasing use of the Structure from Motion (SfM) techniques applied to Cultural Heritage. The accessibility of SfM software can be especially advantageous to users in non-technical fields or to those with limited resources. Thanks to SfM using, everyone can make with a digital camera a 3D model applied to an object of both Cultural Heritage, and physically Environment, and work arts, etc. One very interesting and useful application can be envisioned into museum collection digitalization. In the last years, a social experiment has been conducted involving young generation to live a social museum using their own camera to take pictures and videos. Students of university of Catania and Palermo were involved into a national event #digitalinvasion (2015-2016 editions) offering their personal contribution: they realized 3D models of the museums collection through the SfM techniques. In particular at the National Archaeological Museum Salinas in Palermo, it has been conducted an organized survey to recognize the most important part of the archaeological collection. It was a success: in both #digitalinvasion National Event 2015 and 2016 the young students of Engineering classes carried out, with Photoscan Agisoft, more than one hundred 3D models some of which realized by phone camera and some other by reflex camera and some other with compact camera too. The director of the museum has been very impressed from these results and now we are going to collaborate at a National project to use the young generation crowdsourcing to realize a semi-automated monitoring system at Salinas Archaeological Museum.

SMART SfM: SALINAS ARCHAEOLOGICAL MUSEUM

Directory of Open Access Journals (Sweden)

L. Inzerillo

2017-08-01

Full Text Available In these last years, there has been an increasing use of the Structure from Motion (SfM techniques applied to Cultural Heritage. The accessibility of SfM software can be especially advantageous to users in non-technical fields or to those with limited resources. Thanks to SfM using, everyone can make with a digital camera a 3D model applied to an object of both Cultural Heritage, and physically Environment, and work arts, etc. One very interesting and useful application can be envisioned into museum collection digitalization. In the last years, a social experiment has been conducted involving young generation to live a social museum using their own camera to take pictures and videos. Students of university of Catania and Palermo were involved into a national event #digitalinvasion (2015-2016 editions offering their personal contribution: they realized 3D models of the museums collection through the SfM techniques. In particular at the National Archaeological Museum Salinas in Palermo, it has been conducted an organized survey to recognize the most important part of the archaeological collection. It was a success: in both #digitalinvasion National Event 2015 and 2016 the young students of Engineering classes carried out, with Photoscan Agisoft, more than one hundred 3D models some of which realized by phone camera and some other by reflex camera and some other with compact camera too. The director of the museum has been very impressed from these results and now we are going to collaborate at a National project to use the young generation crowdsourcing to realize a semi-automated monitoring system at Salinas Archaeological Museum.

76 FR 58076 - Culturally Significant Objects Imported for Exhibition Determinations: “Maharaja: The Splendor of...

Science.gov (United States)

2011-09-19

... exhibition ``Maharaja: The Splendor of India's Royal Courts,'' imported from abroad for temporary exhibition... exhibit objects at the Asian Art Museum, San Francisco, CA, from on or about October 21, 2011, until on or about April 8, 2012; the Virginia Museum of Fine Arts, Richmond, VA, from on or about May 19, 2012...

77 FR 48198 - Culturally Significant Objects Imported for Exhibition Determinations: “Faking It: Manipulated...

Science.gov (United States)

2012-08-13

... exhibition ``Faking It: Manipulated Photography Before Photoshop,'' imported from abroad for temporary... exhibit objects at the Metropolitan Museum of Art, New York, New York, from on or about October 11, 2012... February 17, 2013, until on or about May 5, 2013, the Museum of Fine Arts, Houston, Texas, from on or about...

77 FR 8943 - Culturally Significant Objects Imported for Exhibition Determinations: “Rembrandt's Self-Portrait”

Science.gov (United States)

2012-02-15

...-Portrait,'' imported from abroad for temporary exhibition within the United States, is of cultural... determine that the exhibition or display of the exhibit object at the Metropolitan Museum of Art, New York... of the object at the Museum of Fine Arts, Houston from on or about June 3, 2012 until on or about...

75 FR 32980 - Culturally Significant Objects Imported for Exhibition Determinations: “Olmec: Masterworks of...

Science.gov (United States)

2010-06-10

... included in the exhibition ``Olmec: Masterworks of Ancient Mexico,'' imported from abroad for temporary... of the exhibit objects at the Los Angeles County Museum of Art, Los Angeles, CA, from on or about September 26, 2010, until on or about January 1, 2011; the Fine Arts Museums of San Francisco, San Francisco...

A museum for German-speaking citizens in the Czech lands

Czech Academy of Sciences Publication Activity Database

Hnídková, Vendula

-, č. 42 (2011), s. 10 ISSN 1573-3815 Institutional research plan: CEZ:AV0Z80330511 Keywords : Czech contemporary architecture * Projektil * Museum for German -speaking citizens Subject RIV: AL - Art, Architecture, Cultural Heritage

Embodied discourse in the bourgeois museum: performative spaces at the Ordrupgaard collection

Directory of Open Access Journals (Sweden)

Rasmus Kjærboe

2015-04-01

Full Text Available In a suburb just north of Copenhagen is Ordrupgaard. At the inauguration in 1918, it was arguably the best collection of impressionism open to the public outside France and the USA. This paper has two goals: First, to reconstruct and analyze the important yet little known original exhibition ensemble at Ordrupgaard, and second, to develop a view of the bourgeois art exhibition as a performative ritual. Building on ideas of exhibition narratives and visitor involvement derived from diverse work done within museology and museum studies, the paper proposes a close examination of how collective memory and performative embodiment drive exhibition experience. From this, Ordrupgaard emerges as an early example of a museum that offers its audience the possibility of a pleasurable enactment of middle class identity within a setting encompassing nature, art and architecture. The case of a small collection museum therefore reveals important mechanics at work within a potentially much larger field of institutions.

A New World for Museum Marketing? Facing the Old Dilemmas while Challenging New Market Opportunities

Directory of Open Access Journals (Sweden)

Tanja Komarac

2014-12-01

Full Text Available Museums are part of a wider cultural and entertainment environment, which is ruled by highly demanding visitors who seek immersive experiences (edutainment and time-saving arrangement. This has encouraged and, in some opinions, forced museums to turn their focus from collections to visitors. In addition, museums have faced competition and new technologies in the form of virtual museums and virtual reality. This has emphasized the need to accept marketing as a survival tool and to make it into a link between museums and visitors. This article attempts to give current insights into museum marketing as part of the arts marketing field. Its aim is also to identify and explain some of the major challenges and opportunities facing everyday museum business, in order to provide insight into the complex world of museum marketing. Former findings about the development of museum marketing and its biggest changes and challenges are presented, summarized and analyzed.

75 FR 82128 - Culturally Significant Objects Imported for Exhibition Determinations: “Gifts of the Sultan: The...

Science.gov (United States)

2010-12-29

... Giving at the Islamic Courts'' imported from abroad for temporary exhibition within the United States... Angeles County Museum of Art, Los Angeles, CA, from on or about June 5, 2011, until on or about September 5, 2011; The Museum of Fine Arts, Houston, TX, from on or about October 23, 2011, until on or about...

75 FR 51518 - Culturally Significant Objects Imported for Exhibition Determinations: “Picasso: Masterpieces...

Science.gov (United States)

2010-08-20

...[eacute]e National Picasso,'' imported from abroad for temporary exhibition within the United States, are... Seattle Art Museum, Seattle, WA, from on or about October 8, 2010, until on or about January 17, 2011; at the Virginia Museum of Fine Arts, Richmond, VA, from on or about February 19, 2011, until on or about...

Putting the "Team" in the Fine Arts Team: An Application of Business Management Team Concepts

Science.gov (United States)

Fisher, Ryan

2007-01-01

In this article, the author discusses current challenges to the idea of teamwork in fine arts teams, redefines the terms team and collaboration using a business management perspective, discusses the success of effective teams in the business world and the characteristics of those teams, and proposes the implementation of the business model of…

Developments in the recovery of colour in fine art prints using spatial image processing

International Nuclear Information System (INIS)

Rizzi, A; Parraman, C

2010-01-01

Printmakers have at their disposal a wide range of colour printing processes. The majority of artists will utilise high quality materials with the expectation that the best materials and pigments will ensure image permanence. However, as many artists have experienced, this is not always the case. Inks, papers and materials can deteriorate over time. For artists and conservators who need to restore colour or tone to a print could benefit from the assistance of spatial colour enhancement tools. This paper studies two collections from the same edition of fine art prints that were made in 1991. The first edition has been kept in an archive and not exposed to light. The second edition has been framed and exposed to light for about 18 years. Previous experiments using colour enhancement methods [9,10] have involved a series of photographs that had been taken under poor or extreme lighting conditions, fine art works, scanned works. There are a range of colour enhancement methods: Retinex, RSR, ACE, Histogram Equalisation, Auto Levels, which are described in this paper. In this paper we will concentrate on the ACE algorithm and use a range of parameters to process the printed images and describe these results.

Developments in the recovery of colour in fine art prints using spatial image processing

Science.gov (United States)

Rizzi, A.; Parraman, C.

2010-06-01

Printmakers have at their disposal a wide range of colour printing processes. The majority of artists will utilise high quality materials with the expectation that the best materials and pigments will ensure image permanence. However, as many artists have experienced, this is not always the case. Inks, papers and materials can deteriorate over time. For artists and conservators who need to restore colour or tone to a print could benefit from the assistance of spatial colour enhancement tools. This paper studies two collections from the same edition of fine art prints that were made in 1991. The first edition has been kept in an archive and not exposed to light. The second edition has been framed and exposed to light for about 18 years. Previous experiments using colour enhancement methods [9,10] have involved a series of photographs that had been taken under poor or extreme lighting conditions, fine art works, scanned works. There are a range of colour enhancement methods: Retinex, RSR, ACE, Histogram Equalisation, Auto Levels, which are described in this paper. In this paper we will concentrate on the ACE algorithm and use a range of parameters to process the printed images and describe these results.

Visiting the cinema, concerts, museums or art exhibitions as determinant of survival: a Swedish fourteen-year cohort follow-up.

Science.gov (United States)

Konlaan, B B; Bygren, L O; Johansson, S E

2000-09-01

The aim of this study was to ascertain the possible influence of attending various kinds of cultural events or visiting cultural institutions as a determinant of survival. A cohort of individuals aged 25-74 years from a random sample were interviewed by trained non-medical interviewers in 1982 and 1983. The interviews covered standard-of-living variables. Our independent variables covered visiting cultural institutions and attendance at cultural events, reading books or periodicals, and music making. The non-response rate was about 25%. The cohort was followed with respect to survival for 14 years up to 31st December 1996. The background covariates that were used for control purposes were age, sex, cash buffer, educational standard, long-term disease, smoking, and physical exercise. Our setting was the Swedish survey of living conditions among the adult Swedish population aged 25-74 years. About 10,609 individuals were interviewed in 1982 and 1983. The outcome measure was survival until 31st December 1996. In all, 916 men and 600 women died during this period. We found a higher mortality risk for those people who rarely visited the cinema, concerts, museums, or art exhibitions compared with those visiting them most often. The significant relative risks ranging between RR 1.14 (95% CI. 1.01-1.31) of attending art exhibitions, and RR 1.42 (CI. 1.25-1.60) of attending museums, when adjusting for the nine other variables. Visits to the cinema and concerts gave significant RR in between. We could not discern any beneficial effect of attending the theatre, church service or sports event as a spectator or any effect of reading or music making. Our conclusion is that attendance at certain kinds of cultural events may have a beneficial effect on longevity.

78 FR 11264 - Culturally Significant Objects Imported for Exhibition Determinations: “The Cyrus Cylinder in...

Science.gov (United States)

2013-02-15

... exhibition ``The Cyrus Cylinder in Ancient Persia: A New Beginning,'' imported from abroad for temporary... about March 9, 2013, until on or about April 28, 2013; The Museum of Fine Arts, Houston, TX, from on or about May 3, 2013, until on or about June 14, 2013; The Metropolitan Museum of Art, New York, NY, from...

75 FR 57102 - Culturally Significant Objects Imported for Exhibition Determinations: “Titian and the Golden Age...

Science.gov (United States)

2010-09-17

...,'' imported from abroad for temporary exhibition within the United States, are of cultural significance. The... that the exhibition or display of the exhibit objects at the High Museum of Art, Atlanta, GA, from on..., Minneapolis, MN, from on or about February 6, 2011 to on or about May 1, 2011; at the Museum of Fine Arts...

Aboriginal Art: Who was interested?

Directory of Open Access Journals (Sweden)

Daniel Thomas

2011-06-01

Full Text Available This paper addresses the common assumption that Aboriginal art has been absent from Australian art histories and demonstrates how this is not so. It criticises the notion that art history should be represented by specialised art-history books and argues for the important of art museum displays as texts. It also examines the ways in which Aboriginal art has been examined in literature devoted to Australian history and anthropology. It foregrounds the idea that arts history is not necessarily best represented by official art historical texts.

Towards a more sonically inclusive museum practice: a new definition of the ‘sound object’

Directory of Open Access Journals (Sweden)

John Kannenberg

2017-11-01

Full Text Available As museums continue to search for new ways to attract visitors, recent trends within museum practice have focused on providing audiences with multisensory experiences. Books such as 2014’s The Multisensory Museum present preliminary strategies by which museums might help visitors engage with collections using senses beyond the visual. In this article, an overview of the multisensory roots of museum display and an exploration of the shifting definition of ‘object’ leads to a discussion of Pierre Schaeffer’s musical term objet sonore – the ‘sound object’, which has traditionally stood for recorded sounds on magnetic tape used as source material for electroacoustic musical composition. A problematic term within sound studies, this article proposes a revised definition of ‘sound object’, shifting it from experimental music into the realm of the author’s own experimental curatorial practice of establishing The Museum of Portable Sound, an institution dedicated to the collection and display of sounds as cultural objects. Utilising Brian Kane’s critique of Schaeffer, Christoph Cox and Casey O’Callaghan’s thoughts on sonic materialism, Dan Novak and Matt Sakakeeny’s anthropological approach to sound theory, and art historian Alexander Nagel’s thoughts on the origins of art forgery, this article presents a new working definition of the sound object as a museological (rather than a musical concept.

Painting Shades of Gray: How to Communicate the History of Communism in Museums

Directory of Open Access Journals (Sweden)

Alexandra Zbuchea

2015-07-01

Full Text Available Communication of sciences / arts lies at the core of a museum public activity. It is a special type of communication, meant to make the collections and the domain of the expertise of the museum accessible to a wide public in order to fulfill the special cultural and social role that museums have in the contemporary society. This cannot be achieved without the cooperation of visitors, as well as the museum stakeholders. For fruitful relationships, museums have to design their activity and public offer taking into account the characteristics as well as the interests of various segments of its audience. The present paper discusses the prerequisites for a successful museum exhibition. Special attention is given to designing an effective exhibition on the history of communism. By investigating the profile of the potential visitors for such an exhibition, the paper draws a framework to be considered when designing it. The discussion is timely, since in the last few years there are discussions and initiatives related with the establishment of a museum of communism.

The Fine Art of Voting

OpenAIRE

Louise Clarke

2015-01-01

A three page interview with Bob and Roberta Smith including images of his artwork Bewildered by former Minister of State for Schools Michael Gove's inexorable undermining of art education, not to mention his successor MP Nicky Morgans's jaw-dropping pronouncement about 'the arts holding kids back', Patrick Brill, better known as artist Bob and Roberta Smith, has decided to stand for parliament as an independent in Gove's Surrey Heath seat, on an 'all schools should be art schools' ticket. ...

The Art of Video Games

Science.gov (United States)

Johnson, Mark M.

2012-01-01

The Smithsonian American Art Museum has created and will tour an exhibition on a most unusual but extremely popular art form--"The Art of Video Games." As one of the largest and first of its type, this exhibition will document and explore a 40-year evolution of video games as an artistic medium, with a focus on striking visual effects and the…

Sahara Coal: the fine art of collecting fines for profit

Energy Technology Data Exchange (ETDEWEB)

Schreckengost, D.; Arnold, D.

1984-09-01

Because of a change in underground mining methods that caused a considerable increase in the amount of fine sizes in the raw coal, Sahara Coal Co. designed and constructed a unique and simple fine coal system at their Harrisburg, IL prep plant. Before the new system was built, the overload of the fine coal circuit created a cost crunch due to loss of salable coal to slurry ponds, slurry pond cleaning costs, and operating and maintenance costs--each and every one excessive. Motivated by these problems, Sahara designed a prototype system to dewater the minus 28 mesh refuse. The success of the idea permitted fine refuse to be loaded onto the coarse refuse belt. Sahara also realized a large reduction in pond cleaning costs. After a period of testing, an expanded version of the refuse system was installed to dewater and dry the 28 mesh X 0 clean coal. Clean coal output increased about 30 tph. Cost savings justified the expenditures for the refuse and clean coal systems. These benefits, combined with increased coal sales revenue, paid back the project costs in less than a year.

The Democratic Horizons of the Museum : Citizenship and Culture

NARCIS (Netherlands)

Peter Dahlgren; Dr. Joke Hermes

2013-01-01

This multi-volume reference work provides a state-of-the-art survey of the burgeoning field of museum studies. Showcasing the best of theory, practice, history, controversies, and the ways technology impacts the way we view, think about, and institultionalize objects, The International Handbooks of

529 Museums and Development in Africa (Pp.529-538)

African Journals Online (AJOL)

User

2010-10-17

Oct 17, 2010 ... economic aspects of the evolution of African societies. ... economists see development as economic growth measured ... The experience of a member of developing countries in these ... museums came later, inspired by Europe's emerging interests in ... effects of colonial education system on local art.

Genetic Drift. The ancient Egyptian dwarfs of the Walters Art Museum.

Science.gov (United States)

Kozma, Chahira

2010-10-01

The ancient Egyptians left an impressive artistic legacy documenting many aspects of their society including the existence of dwarfs as highly valued members. In previous publications in the Journal, I discussed dwarfs and skeletal dysplasia in ancient Egypt. In this study, I examined the ancient Egyptian representations of dwarfs of the Walters Art Museum in Baltimore, Maryland. One of the highlights of the collection is a group of five ivory figurines from Predynastic Times (pre 3500-3100 BCE) depicting a couple, a man with a child, and two females. Representations from other periods include ordinary as well as dwarf deities. The dwarf gods, Bes and Ptah, are frequently depicted holding or biting snakes or standing on crocodiles symbolizing their ability to ward off dangers. A couple of statuettes from the Greco-Roman Period that, in contrast to earlier Egyptian Periods, depict harsh physical anomalies, twisted bodies, and facial pain. The artistic impression can be interpreted as either tragic or humorous. The grotesque depiction of dwarfs during the Greco-Roman Period in ancient Egypt is believed to be due to a greater infusion of Hellenistic influence. This study provides a microcosm of the legacy of dwarfs in ancient Egypt and supports the premise that dwarfs were accepted and integrated in the ancient Egyptian society, and with a few exceptions, their disorder was not depicted as a physical handicap. Copyright © 2010 Wiley-Liss, Inc.

Museums of Poland: ways of exploiting the National Heritage

Directory of Open Access Journals (Sweden)

Violeta Tipa

2017-12-01

Full Text Available Thanks to the fellowship Thesaurus Poloniae provided by the Ministry of Culture and Heritage of Poland and the International Cultural Centre Krakow I was able to visit a number of museums in the cities of Warsaw, Krakow, Lodz, and Poznan. The innovative method of using audiovisual media has especially attracted my attention. Visiting Polish museums, I concluded that the country's history, its past hasn't remained in archives, in documents hidden from the public eye and accessible only to specialists in the field. By possibilities of museums upgraded the past comes alive as a page in the life of Poles. The national heritage, studied and carefully preserved, is passed on to the younger generation through the most advanced methods. Today, digital techniques increasingly penetrate into all spheres of art and culture. Museums also look for non-trivial ways to demonstrate the most valuable objects from their collections through the latest information methods. The use of audiovisual media in various forms is an ideal opportunity to immerse visitors in the distant past, help them survive dramatic historical events in a dynamic, penetrate the spirit of patriotism. The screen (monitor has become a traditional element in Polish museums and exhibition halls equipped with touch screens allowing guests to browse and receive a variety of available information in international communication languages (English, French, German and, of course, Polish. On the screens placed in the exhibition halls, documents are displayed non-stop either completely or in fragments, a visual picture sends visitors to real museum exhibits. Museums opened after 2000 are equipped with cinema halls (National Museum, The Warsaw Rising Museum and POLIN Museum, Rynek Underground Museum and Oscar Schindler’s Enamel Factory in Krakowб etc., some of them are equipped for films in 3D, with panoramic projection. Expressive audiovisual entourage is created by playing light and shadow

The Educational Museum: Innovations and Technologies Transforming Museum Education. The Benaki Museum, Athens, 17 October 2013

Directory of Open Access Journals (Sweden)

Dimitra Christidou

2014-01-01

Full Text Available The main topic of 'The Educational Museum: Innovations and Technologies Transforming Museum Education 'conference, third in a series of conferences organised by the Benaki Museum in partnership with the American Embassy and the British Council in Greece, was the use of technology and social media as means of transforming museum education and, sometimes, funding museum exhibitions and educational programmes. Among others, the conference aimed to discuss the use of digital applications such as Facebook, Twitter, Pinterest and Kickstarter by museums in order to attract a wider audience, interpret their collections and even fund their programmes.

‘The prehistory of Asian collections in Paris’: Ting Chang, Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris, Aldershot: Ashgate 2013

Directory of Open Access Journals (Sweden)

Partha Mitter

2014-12-01

Full Text Available The work deals with three major collectors of Asian art in Paris in the 19th century. Enrico Cernuschi and Émile Guimet (founder of Musée Guimet acquired their substantial collection through travelling abroad while Edmond Goncourt amassed his collection at home through dealers. As the author argues, the influential postcolonial critiques of museum collections as instruments of power and authority do not take into account labour and social relations, and somatic experiences of travels to Asia. Cross-cultural encounters between Europe and Asia led to subtle inversions of power, undermining European sense of superiority. Additionally, she throws light on extensive networks and complex political, commercial, monetary relations, especially bimetallism, as well as the material conditions that affect art collection.

AN ARCHITECTURAL ANALYSIS: THE MUSEUM OF CONTEMPORARY ART, TEHRAN, IRAN

Directory of Open Access Journals (Sweden)

Kambiz Navai

2010-03-01

Full Text Available Kamran Tabatabai Diba is one of Iranian Architects, whose works during 60’s and 70’s are well-known among architects and scholars. His works are mostly considered as examples of Modern Style, scented by Iranian Architecture. His efforts on creating public, socio-cultural centers in Iran was a result of his concern about social matters, as well as seeking for a national, contemporary Architecture. Tehran’s Museum of Contemporary Art is one of the most popular and well-known Diba’s works. In this article an effort has been made to get a better understanding of this remarkable piece of work, and to light up the Architect’s intents and the architectural methods he used to express them. The critique is concentrated mostly on two mentioned aspects of Diba’s works: “Integrating Modern Style and traditional Iranian Architecture”, and “Creating socio-cultural centers and institutions well related to society.” The Analysis is based on the most important features of every work of Architecture: “Space” and “Form”. The author seeks for the meaning by “watching” the whole complex carefully, “giving descriptive information” about it, and in the meantime “analyzing data” with the help of “basic design methods” together with the knowledge of “Modern Style”, “Characteristics of Late Modern Movement” and “Traditional Iranian Architecture.” Text is accompanied by drawings and figures, which help for better knowing the complex. The effort is made to use a simple language, understandable not only by Architects or scholars, but by every other interested non-specialist reader.

Using Formal Concept Analysis to Create Pathways through Museum Collections

DEFF Research Database (Denmark)

Wray, Tim; Eklund, Peter

2014-01-01

This paper presents A Place for Art - an iPad app that allows users to explore an art collection via semantically linked pathways that are generated using Formal Concept Analysis. The app embraces the information seeking approach of exploration and is based on the idea that showing context...... and relationships among objects in a museum collection augments an interpretive experience. The fundamental interaction metaphor inherent in A Place for Art relies on Formal Concept Analysis so the interface has embedded within it the semantic clustering features of machine learning in artificial intelligence....

Dumbing down Art in America.

Science.gov (United States)

Swanger, David

1993-01-01

Argues that art education does not meet its objective of creativity and instead is replicative rather than original. Contends educational journals such as "Instructor" and "Good Apple" reduce fine art to its antithesis, popular art. Concludes that art educators must work diligently to protect fine art from becoming "dumb…

Mobile Technology as a Virtual Assistant at the Museum of the Isidro Ayora Fiscal School

Directory of Open Access Journals (Sweden)

Fausto Alberto Viscaino Naranjo

2018-02-01

Full Text Available The Isidro Ayora School located in the Latacunga Canton, between Quijano / Ordóñez and Tarqui streets, has a museum that is open to the citizens without any age difference, projecting during the tour in a traditional, monotonous and unconventional way all their art, By this factor the influx of public is very sporadic, which does not allow the development and recognition of the Museum. For the development of the research was applied the hypothetical-deductive method and the analytical, on the other hand was applied the methodology of application development for Smartphones Mobile-D; Through the collection of information that involves eld research, it was veri ed that the Museum does not have technological alternatives that allow the dissemination of the historical-cultural heritage, thus demonstrating that the creation of the virtual guide through mobile technology is the technological solution to improve The user’s experience in visiting and disseminating museums; So is the search for the use of new technologies helping to turn a forgotten environment into an interactive and friendly environment. With the implementation of Mobile Technology in the Museum of the Isidro Ayora School, visitors will be able to interact with the art articles displayed and visualize their information on any Android device through a multimedia library by simply scanning the QR code that each contains and In consequence it will allow the innovation, difusion and recognition of the Museum.

Rancang Bangun Aplikasi Augmented Reality Museum Bali Berbasis Android Studi Kasus Gedung Karangasem dan Gedung Tabanan

Directory of Open Access Journals (Sweden)

I Gede Aditya Nugraha

2016-08-01

Full Text Available Museum Bali is one of the museum which is located in Denpasar City that established since 1910. The Museum collections consist of items such as living equipment, art, religion, handwriting, and other things that show the situation and the development of the Balinese culture. Augmented Reality is a technology which combines two-dimensional virtual objects or three-dimensional virtual objects into the real environment. Museum Bali has decreased the amount of visitors in recent years and requires an innovation to promote Museum Bali. One innovation that is expected to promote the Museum Bali is to create an augmented reality application that called Augmented Reality Museum Bali in Android platform. Utilizing augmented reality technology that works by detecting the marker then it show up the 3D object and the information from one of the objectsin Museum Bali. Markerless method used in detection marker that make this application moreattractive and expected to be a new experience for the people who want to know more about Museum Bali.

Modern Art as Public Care: Alzheimer's and the Aesthetics of Universal Personhood.

Science.gov (United States)

Selberg, Scott

2015-12-01

This article is based on ethnographic research of the New York Museum of Modern Art's influential Alzheimer's access program, Meet Me at MoMA. The program belongs to an increasingly popular model of psychosocial treatment that promotes art as potentially therapeutic or beneficial to people experiencing symptoms of dementia as well as to their caregivers. Participant observation of the sessions and a series of interviews with museum staff and educators reveal broader assumptions about the relationship between modern art, dementia, and personhood. These assumptions indicate a museological investment in the capacity and perceived interiority of all participants. Ultimately, the program authorizes a narrative of universal personhood that harmonizes with the museum's longstanding focus on temporal and aesthetic modernism. © 2015 by the American Anthropological Association.

Education at the Dittrick Museum of Medical History, Case Western Reserve University, Cleveland, Ohio, USA.

Science.gov (United States)

Edmonson, James M

2009-01-01

The Dittrick Museum of Medical History pursues an educational mission as being part of a major research university. While the Dittrick dates to 1899 as a historical committee of the Cleveland Medical Library Association, it first affiliated with Case Western Reserve University in 1966, and became a department of the College of Arts and Sciences of CWRU in 1998. The Dittrick maintains a museum exhibition gallery that is open to the public free of charge, and museum staff provide guided tours on appointment. Much of the teaching and instruction at the Dittrick is conducted by university professors; their classes meet in the museum and use museum resources in the form of artifacts, images, archives, and rare books. Class projects using Dittrick collections may take the form of research papers, exhibitions, and online presentations. Dittrick staff assist in these classes and are available to help researchers use museum resources.

How Law Manifests Itself in Australian Aboriginal Art

NARCIS (Netherlands)

A.T.M. Schreiner (Agnes)

2013-01-01

markdownabstract__Abstract__ The article How Law Manifests Itself in Australian Aboriginal Art will discuss two events at the Aboriginal Art Museum Utrecht from the perspective of a meeting between two artistic and legal cultures. The first event, on the art and law of the Spinifex people,

75 FR 31426 - Notice of Meeting

Science.gov (United States)

2010-06-03

... COMMISSION OF FINE ARTS Notice of Meeting Established By Congress May 17, 1910. The next meeting of the U.S. Commission of Fine Arts is scheduled for 17 June 2010, at 10 a.m. in the Commission offices at the National Building Museum, Suite 312, Judiciary Square, 401 F Street, NW., Washington DC...

ORGANIZING PROSPECTIVE PRIMARY SCHOOL TEACHERS’ INDEPENDENT WORK IN THE COURSE OF “FINE ARTS WITH METHODOLOGY”

Directory of Open Access Journals (Sweden)

Oleksandr Plakhotskyi

2016-04-01

Full Text Available This article is devoted to the actual problem of modern art education - organization of independent artwork of seekers of higher education in the prospective primary school teachers’ professional training. The authors note that the independent work is one of the most important components of the educational process, which involves the integration of different types of individual and collective educational activities conducted as in the classroom, extracurricular classes, without a teacher, and under his direct leadership. The authors point out that mastering the skills of independent work intensifies future specialist’s cognitive activity, facilitates searching scientific and methodological information, makes mastering of educational material more conscious, encourages self-development and self-study. Analysing the scientific exploration of modern educators and psychologists on the organization of independent work, the author determines the optimal forms and methods of students’ independent activity in the course "Fine Arts with Teaching Methodology." Particular attention is paid to methodological support of students' independent work with thematic module "Decorative painting", which contains forms and instructional techniques of teaching Petrykivska painting. The authors emphasize that one of the important conditions for successful primary school teachers’ fine arts training, developing their artistic abilities during the tasks of independent work is the individual approach, the choice of methods, techniques, learning pace, depending on students’ individual characteristics and interests.

Mental Representations in Art Discourse

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Katja Sudec

2014-03-01

Full Text Available The paper starts by examining the content included in the museum environment, where I write about the type of relations that emerge in a museum or artistic setting. This is followed by an observation of a social act (socialising and a chapter on the use of food in an artistic venue. At the end, I address art education via the format that I developed at the 6th Berlin Biennale. This is followed by an overview of the cognitive model of the fort-da game based on Freud’s theory via two discourse models. Here, I address discourse on art works in the form of a lecture or reading, where the art space is fictitiously present, and then move on to discuss discourse on art works in real, “present” art space. This is followed by a section on actions (Handlungen in German and methods supporting the fort-da model. The last part of the article examines the issue of “mental representations”, defining and explaining the function of mental representations with regard to the target audience of the blind and visually impaired.

(MOther Re-spect: Maternal Subjectivity, the Ready-made mother-monster and The Ethics of Respecting

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Bracha L. Ettinger

2010-01-01

Full Text Available A groundbreaking theoretician working at the intersection of art, psychoanalysis, feminine sexuality, ethics and aesthetics, she is the author of several books and more than eighty psychoanalytical essays on what she has named "matrix" and "matrixial trans-subjectivity" since the mid 1980s. Her book The Matrixial Borderspace (essays from 1994-1999 appeared in English in 2006 (published by the University of Minnesota Press with a foreword by Judith Butler, an introduction by Griselda Pollock, and an afterword by Brian Massumi who also edited the collection. She is a practicing psychoanalyst and holds together the practice of artist and of psychoanalyst in a unique way. Her co-authored series of conversations with Emmanuel Lévinas, Edmond Jabès, Félix Guattari, Christian Boltanski and other artists and philosophers are considered, alongside her notebooks, photography, scannography, and painting, as major contributions to contemporary art and culture. She has also published famous photographs of Jean-François Lyotard, Jabès, Lévinas, Joyce McDougall and others. Ettinger is Professor of Psychoanalysis and Art at the Media & Communications Division of the European Graduate School in Saas Fee (Switzerland. A recent selection of her solo exhibitions includes the Freud Museum (June-July 2009 in London, the Finnish Academy of Fine Arts in Helsinki (August 2009, the Tapies Foundation, Barcelona (May 2010 and the Freud Dream Museum, St Petersburg (September 2010. Her paintings, photos, drawings and notebooks have been exhibited extensively in major museums of contemporary art and her solo exhibitions include Le Palais des beaux-Arts, Brussels (2000 and The Drawing Center, New York (2001. She has participated in group exhibitions at Centre G. Pompidou, Paris and Stedelijk Museum, Amsterdam, and her recent group exhibitions include Herzliya Museum of Contemporary Art (2006-2007 and The Royal Museum of Fine Arts, Antwerp (2006. Her paintings and

The Party and State Politics in the Field of Fine Arts in USSR (1920’s — the Early 1930’s

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A. Sokyrko

2016-02-01

Full Text Available The article analyzes the evolution of the Bolshevik politics in the field of fine arts, from demonstrative non-interference in the creative process in the 1920’s to direct guidance of the party in the artistic life in the early 1930’s. Bolshevik Party used the fine art primarily as a means of propaganda, communist ideology and policy implementation tools in forming of «new» Soviet man. Declared in 1920’s the desire to create a new culture, a variety of art forms and trends, demonstrative non-interference of the power in the creative process, at the beginning of 1930’s was replaced by a direct party guidance of the artistic life and work of artists. Government order to the artists finally resulted in the elimination of Art Associations in 1932 and combining them into Orgburo Union of Soviet Artists of Ukraine. The only creative method — socialist realism, designated by CPSU(b put an end of the versatility of the Ukrainian art.

War and Peace in the Pictures Drawn by the Students of a Fine Arts High School

Science.gov (United States)

Aktas, Özgür

2015-01-01

This study aims to identify high school students' perception of war and peace. Therefore, the students were asked to draw pictures depicting war and peace. The study was conducted at a Fine Arts High School. This study is a qualitative research. According to the assessments made on the results of the study, the students drew pictures containing…

The Organization of Museums: Practical Advice. Museums and Monuments, IX.

Science.gov (United States)

Adams, Philip R.; And Others

This manual deals with the organization of museums. The manual includes 10 chapters written by different people involved in museum work in various parts of the world. Chapter I, The Museum and Its Functions, deals with such topics as definition, collecting, identifying, and recording. Chapter II considers the administration of museums. Chapter…

A comparative sociological study of peace museums and military museums

OpenAIRE

Murakami, Toshifumi

2003-01-01

This paper compares peace museums and military museums in Japan and foreign countries. It analyses the features, social functions of both peace and military museums, and considers the social influence on both museums. A public relations facility of the Self Defense Forces is regarded as a military museum in Japan, so the development and contents of the exhibition of such public relations facilities are analyzed. A half of them were established in a period between 1964 and 1969. Three new larg...

The Art of John Biggers

Science.gov (United States)

Coy, Mary

2010-01-01

In their 2005 exhibit of John Biggers' work, the New Orleans Museum of Art described it as being inspired by "African art and culture, the injustices of a segregated United States, the stoic women in his own family, and the heroes of everyday survival." In this article, the author describes how her students reinterpreted Biggers' work.…

Institutional comunication and cultural marketing: Peculiarities in museum communication within the framework of public relations

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Camelia BURGHELE

2011-01-01

Full Text Available Cultural management theoreticians believe that the main target of museum communication is gaining knowledge on specific messages by as large a number of people as possible. Museum public relation practice – intensified and upgraded at the same time with the revolution of the new communication technologies – is both science and art which analyse certain tendences (in attitude, taste and informal of anticipating their consequences for implementing certain museum offer programs to appeal to the public.As an institution with a decisive role in guarding cultural heritage and in outlining cultural identity – as it keeps the necessary instruments for this, the specialists and also the motivation through its own purposes – the museum in its dynamic, modern, enhanced shape must provide an attractive cultural product to the public, based on a anthropological approach to cultural fact.Modern museum-ology is built upon the concept that museum is a story and modern museums stimulate to a high degree participative learning, generated by a productive dialogue.

Links between Libraries and Museums: a Case Study of Library-Museum Collaboration at the Hong Kong Maritime Museum

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Patrick Lo

2013-07-01

Full Text Available Established in 2005, the Hong Kong Maritime Museum (HKMM is a relatively new private museum that aims to collect all forms of materials related to the development of boats, ships, maritime exploration and trade, and naval warfare on the South China coast, as well as its adjacent seas.  The Museum not only serves as a unique platform for teaching and learning of the local heritage in Hong Kong, it also contributes greatly to the promotion of community engagement and social connections.  The HKMM is also equipped with its own museum library, and it is called the CSSC (China State Shipbuilding Corporation Maritime Heritage Resource Centre.  In addition to supporting various research activities carried out by the Museum, this Resource Centre also serves as a central, and yet comprehensive repository for publications, and other archival documents on maritime heritage and history related to Southeastern China.  This paper aims to compare the distinctive operational practices, and user needs between museums and libraries.  It also examines the benefits and challenges of museum-library collaborations in the new knowledge-driven society.  This paper features an interview with Kitty But (Librarian, CSSC Maritime Heritage Resource Centre, The Hong Kong Maritime Museum and Robert Trio (Project Officer for Technology, The Hong Kong Maritime Museum, and in which they discussed their professional experiences in the fields of audience education; the implementation of different new technologies associated with the museum and library services; and various collaborative initiatives carried out between the Museum and the Resource Centre.  Upcoming challenges and opportunities faced by both the Museum and Resource Centre are also discussed in this paper.

Technology Museums in Denmark

DEFF Research Database (Denmark)

Søndergaard, Morten Karnøe

2012-01-01

This article presents an exhibit review of some of the major technology museums in Denmark. First comes an introduction to the Danish museum ”landscape”. Second a total of six museums and their technology focused exhibits are presented. Among the museums are the Fisheries and Maritime Museum...... in Esbjerg, housing one of the most impressive and representative exhibitions on the technology behind the strong Danish maritime sector. Another museum being mentioned is the Energy Museum, which covers the background for some of the major breakthroughs performed in Denmark within this area; particularly...... within wind power technology. Finally special attention is devoted to the Danish Technological Museum. A museum which is the oldest and most elaborate of all the technology museums. The museum covers virtually every technological breakthrough with any relevance in a Danish section, with a special focus...

Expanding Our Vision of Museum Education and Perception: An Analysis of Three Case Studies of Independent Blind Arts Learners

Science.gov (United States)

Hayhoe, Simon

2013-01-01

In this study, Simon Hayhoe investigates the experiences of blind museum visitors in the context of the relationships between the artworks they learned about in museums, those they experienced when younger, and the social, cultural, and emotional influences of their museum experiences. The three case studies he presents support his hypothesis…

77 FR 54647 - Culturally Significant Objects Imported for Exhibition Determinations: “Sicily: Art and Invention...

Science.gov (United States)

2012-09-05

... exhibition ``Sicily: Art and Invention Between Greece and Rome,'' imported from abroad for temporary... exhibit objects at The J. Paul Getty Museum in Los Angeles, California from on or about April 3, 2013, until on or about August 19, 2013; and then at the Cleveland Museum of Art in Cleveland, Ohio from...

How Law Manifests Itself in Australian Aboriginal Art

NARCIS (Netherlands)

Schreiner, A.T.M.

2013-01-01

The article How Law Manifests Itself in Australian Aboriginal Art will discuss two events at the Aboriginal Art Museum Utrecht from the perspective of a meeting between two artistic and legal cultures. The first event, on the art and law of the Spinifex people, will prove to be of a private law

John Brampton Philpot's photographs of fictile ivory in the Hungarian National Museum

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Papp, Júlia

2014-06-01

Full Text Available In the Archeological Archives of the Hungarian National Museum you can find a series of photographs depicting fictile ivory. Made up of 265 items, the series were produced by John Brampton Philpot, born in the UK and settled in Florence in the middle of the 19th century, then donated to the museum by Ferenc Pulszky in 1868. Turned to exile in 1849, Pulszky inherited his belated uncle's valuable ivory collection, which was exhibited in London in 1853. Since technologies, which made it possible for sensitive artefacts to be reproduced without any damage done to the original, had become available by that time, upon request of his colleagues at South Kensington Museum, Pulszky gave authorization for the reproduction of his ivory collection. In 1863 Pulszky started to live in Florence, where he got into professional contact with Philpot and is likely to have been instrumental in the making of the above photo series of fictile ivory. Philpot published an individual catalogue of these series, which despite its misspellings and erroneous data has provided great assistance in identifying the photographs from Budapest. Philpot's series of photographs supplied a lot of important information for the European history of photographing and collecting art treasures in the 19th century, and also contributed to the art reproduction movement of the 1850-60s. New technologies (electrotyping, photography came to play a dominant role in the institutional development of art history, archeology and historic conservation. The network established and widened between European public and private collections, which enhanced exchange and sales of art reproductions, with the intention of serving both educative and scientific aims.

Museum Learning.

Science.gov (United States)

Black, Susan

2002-01-01

Virtual museums focus on a specific curriculum theme and showcase electronic museum-type collections such as artifacts, paintings, photographs, numerous databases, and Web links to resources around the world. Museums of all types include vital teaching tools that help students make discoveries and form connections with the past, present, and…

iMuseumA: An Agent-Based Context-Aware Intelligent Museum System

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Inmaculada Ayala

2014-11-01

Full Text Available Currently, museums provide their visitors with interactive tour guide applications that can be installed in mobile devices and provide timely tailor-made multimedia information about exhibits on display. In this paper, we argue that mobile devices not only could provide help to visitors, but also to museum staff. Our goal is to integrate, within the same system, multimedia tour guides with the management facilities required by museums. In this paper, we present iMuseumA (intelligent museum with agents, a mobile-based solution to customize visits and perform context-aware management tasks. iMuseumA follows an agent-based approach, which makes it possible to interact easily with the museum environment and make decisions based on its current status. This system is currently deployed in the Museum of Informatics at the Informatics School of the University of Málaga, and its main contributions are: (i a mobile application that provides management facilities to museum staff by means of sensing and processing environmental data; (ii providing an integrated solution for visitors, tour guides and museum staff that allows coordination and communication enrichment among different groups of users; (iii using and benefiting from group communication for heterogeneous groups of users that can be created on demand.

Can Virtual Museums Motivate Students? Toward a Constructivist Learning Approach

Science.gov (United States)

Katz, James E.; Halpern, Daniel

2015-12-01

This study aims to assess the effectiveness of immersive environments that have been implemented by museums to attract new visitors. Based on the frameworks introduced by telepresence and media richness theories, and following a constructivist-based learning approach, we argue that the greater the similarity of an online museum experience is to its physical counterpart, the more positive will be the observer's perception of the collection. We reason that the similarity would lead online visitors to develop greater cognitive involvement which in turn will produce more positive attitudes toward the collection. In support of this argument, we present the results of a comparative study in which 565 participants were exposed randomly to four different exhibitions: two-dimensional collections of art and aircraft museums and three-dimensional tours of similar museums. Results indicate that whereas 3D tours have a strong effect on users' intentions to visit the real museum, cognitive involvement and sense of presence mediate the association between these variables. In terms of managerial implications, our study shows that if educational professionals want to stimulate their students to visit museums, 3D tours appear to be more effective for engaging learners through a realistic-looking environment. By offering richer perceptual cues and multimodal feedback (e.g., users can view 3D objects from multiple viewpoints or zoom in/out the objects), the study suggests that participants may increase their reasoning process and become more interested in cultural content.

Analysis of the Holart Report project: recording and publishing sales data for fine art holograms

Science.gov (United States)

Zellerbach, Gary A.

1995-02-01

At Lake Forest College's Fourth International Symposium on Display Holography (July 1991), the author first formulated an idea to promote fine art holography by recording and publishing sale prices for art holograms. The idea was mentioned to several prominent artists in attendance, and the response was enthusiastic. The author formed a new company to publish the world's first journal of international art hologram sales, the Holart Report. Holart Report published four quarterly issues, beginning in May 1992. During that time, the publisher created a significant database of hologram art sales and reported tens of thousands of dollars in holographic art transactions. In February 1993 the author's new job obligations and a general lack of support for the project forced him to suspend publication of Holart Report. This paper attempts to answer serious questions surrounding the experience. What problems were encountered? What benefits, if any, did Holart provide during its short lifetime? Why were many in the holographic art community reluctant to support the project? In retrospect, what should have been done differently to ensure greater success? Lastly, the author states his belief that the idea remains feasible and valuable. The database is intact and the publishing template established. The lessons learned can be used to produce a much improved new version of Holart Report or a similar publication.

How to Modernize the Academic Museum. Exhibition Activity of the Museum Group the ARAS as a Pilot Project of the Museum of History of Russian Academy of Science

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Korneva-Chaeva Irina A.

2016-09-01

Full Text Available The article on the example of the Museum group of Archives of Russian Academy of Science is demonstrating new possibilities of representation of archival documents in the museum space. The authors focused on the potential exposure of the museum based on the principle of visualization. They explain the special role of representing scientific knowledge for education of youth. They offer a new form of interactive communication with the museum’s scientific heritage, based on the method of comprehending the reality as a “co-experience” and “re-discovery” that leads to the attainment the new generation to the new intellectual and spiritual experience. The experiment, the research paper, the science, the war, and even the modern art are the main themes of our exhibitions. The authors use the special new methods of exhibition to create the intriguing image of scientist. They use light boxes and interactive demonstrations. The main aim of the exposition is to show the documents of Archives of Russian Academy of Science, so we rely on the following materials: personal fond of academicians A.N. Nesmeyanov, V.L. Komarov, M.V. Keldysh, I.V. Kurchatov and others. Authors successfully solve the problems of the development of new theoretical principles exposing archival documents by modern methods.

Výstavní a muzejní expozice Zdeňka Rossmanna po druhé světové válce

Czech Academy of Sciences Publication Activity Database

Svobodová, Markéta

-, č. 71 (2015), s. 4-14 ISSN 0231-5793 Institutional support: RVO:68378033 Keywords : Zdeněk Rossmann * exhibition design * museum exhibitions * historic museology * fine art after 1945 Subject RIV: AL - Art, Architecture, Cultural Heritage

Annotating Fine Art Images

OpenAIRE

Isemann, Daniel

2007-01-01

The project's objective is to work with art galleries to help them find innovative ways of indexing images, especially by having automatically created and updated thesauri. National Gallery of Ireland Douglas Hyde Gallery Trinity Long Room Hub

Influences on the Struggle over Content: Considering Two Fine Art Studio Practice Curricula in Developing/ed Contexts

Science.gov (United States)

Belluigi, Dina Zoe

2016-01-01

This paper considers the influences of curricula content on the nuances of teaching and learning practices, and the ways in such influences are complicated by the contexts within which they are situated. Generated data from within the particularity of two fine art schools, one operating from the developed world in the global "north" and…

Unforgettable art

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Iván Moratilla Pérez

2018-05-01

Full Text Available Humanity and Art make an indissoluble marriage, it is impossible to comprehend one without the other. Even before producing the first musical instrument, humanity already sang; before using a canvas, humans painted on the walls of a cave. Creative manifestations invariably take place in “poverty and wealth”, but also in “sickness and health”. In this article we introduce the reader to the subject of art and dementia, highlighting the creative potential of patients, and including examples of educational programmes that some museums develop for people with this condition.

45 CFR 1180.70 - Guidelines and standards for museum conservation projects.

Science.gov (United States)

2010-10-01

... 45 Public Welfare 3 2010-10-01 2010-10-01 false Guidelines and standards for museum conservation projects. 1180.70 Section 1180.70 Public Welfare Regulations Relating to Public Welfare (Continued..., as applied to art, history, natural history, science and technology, and living collections: (1...

Muzejní marketing: komunikační aktivity Victoria and Albert Museum v Londýně v akademickém roce 2011/2012

OpenAIRE

Freitagová, Martina

2013-01-01

After an extensive museum boom in the 1980s and 1990s marked by the construction of numerous new museums, there is now a growing debate about selling museum items and even a complete closure of some institutions. Also the function attributed to art in the museum context has changed the purpose of these institutions in society. Museums turned into socializing platforms and their collections became subjects of universal conversations. Their role has been fully reoriented towards serving the pub...

Museum Institutions in Monuments - Positive and Negative Aspects of Adaptation: The New Amber Museum and Museum of Science in Gdansk, Poland

Science.gov (United States)

Piatkowska, Ksenia

2017-10-01

The issue of the creation and location of new museums is a current topic. The decision of where and how to create new museum facilities will impact successful function in the future. Museums are either located in newly designed buildings or in existing buildings. In general, existing buildings adapted for museum use are either formally under conservational protection or not. With regard to museum location in preserved monuments, the author notes that the true impact on authentic monumental building structure still needs intense research. The adaptation of the Great Mill and St. Catherine’s Church - two preserved medieval objects located in the historical city center of Gdansk - provide case studies to investigate positive and negative aspects. In both cases, the author carried out architectural projects for the functional purposes of museums: The New Amber Museum and Museum of Science. The author concludes that mutual benefits of adaptation result from: the financial means of the museum institution to invest long-term; the institutional respect of the museum towards heritage, which translates into respect for conservational protection; and the competitive advantage created by the monumental features of the building and the privileged location in a well-established, branded space. Negative aspects result from: space limitations of monuments that disable the museum from extending its exposition and thus prevent institutional development; the overly restrictive requirements of restoration that take priority over the museum mission; and the lack of technically functional space required for contemporary museum technologies, which forces unconventional engineering solutions that are more expensive than the location of the museum in a newly constructed building.

77 FR 34986 - Notice of Intent To Repatriate a Cultural Item: U.S. Department of the Interior, Indian Arts and...

Science.gov (United States)

2012-06-12

... Intent To Repatriate a Cultural Item: U.S. Department of the Interior, Indian Arts and Crafts Board.... SUMMARY: The U.S. Department of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian... with the cultural item may contact the Museum of the Plains Indian, Indian Arts and Crafts Board. DATES...

Non-destructive analysis of museum objects by fibre-optic Raman spectroscopy.

Science.gov (United States)

Vandenabeele, Peter; Tate, Jim; Moens, Luc

2007-02-01

Raman spectroscopy is a versatile technique that has frequently been applied for the investigation of art objects. By using mobile Raman instrumentation it is possible to investigate the artworks without the need for sampling. This work evaluates the use of a dedicated mobile spectrometer for the investigation of a range of museum objects in museums in Scotland, including antique Egyptian sarcophagi, a panel painting, painted surfaces on paper and textile, and the painted lid and soundboard of an early keyboard instrument. The investigations of these artefacts illustrate some analytical challenges that arise when analysing museum objects, including fluorescing varnish layers, ambient sunlight, large dimensions of artefacts and the need to handle fragile objects with care. Analysis of the musical instrument (the Mar virginals) was undertaken in the exhibition gallery, while on display, which meant that interaction with the public and health and safety issues had to be taken into account. Experimental set-up for the non-destructive Raman spectroscopic investigation of a textile banner in the National Museums of Scotland.

Spilt Ink: Aesthetic Globalization and Contemporary Chinese Art

OpenAIRE

Gaskell, Ivan

2012-01-01

In response to globalization, is there to be a single, homogeneous set of aesthetic values governing the production and consumption of art? The article focuses on a newcomer to globalized contemporary art, China. It suggests that artworld art (encompassed by the artworld institutions of commerce, museums, and the academy) is far from the only art currently produced. Art beyond the artworld, whether commercial or religious, is important to many people worldwide. It describes four kinds of art ...

Arte Brasileno Erudito y Arte Brasileno Popular. (Brazilian Fine Art and Brazilian Popular Art)

Science.gov (United States)

Valladares, Clarival Do Prado

1969-01-01

Class differences in Brazil explain the inequality between the art produced in the high strata of society and that originating in the economically inferior communities. Genuine expression of art degenerates for two reasons: the influence of modern industrial civilization and the tendency to satisfy the taste of the acquisitive group. (Author/MF)

Exams for attribution of sevres porcelain by x-ray fluorescence in Havana museums

International Nuclear Information System (INIS)

Mendoza Cuevas, Ariadna; Nazco Torres, Julio

2010-01-01

Analysis with X-ray fluorescence on Sevres porcelain was performed in order to determine criteria from the scientific examination that may support the attribution of special pieces. Multielemental chemical analyses of decorations colours, marks and glazed porcelain body were related to specific historic information about used materials and procedure of Sevres french manufactory. The used portable XRF spectrometer allows non destructive and in situ studies of Havana's collections with adequate sensibility for this application. Collections of Havana City Museum, Decorative Art Museum and Napoleonic Museum and some pieces of different background were studied. Non typical pigments used in Sevres allows to identify non genuine Sevres decorations while cluster analysis on porcelain body differentiates Sevres and 'surdecor' porcelains from Sevres style non genuine porcelains. (author)

Exams for attribution of sevres porcelain by x-ray fluorescence in Havana museums

International Nuclear Information System (INIS)

Mendoza Cuevas, Ariadna; Nazco Torres, Julio

2009-01-01

Analysis with X-ray fluorescence on Sevres porcelain was performed in order to determine criteria from the scientific examination that may support the attribution of special pieces. Multielemental chemical analyses of decorations colours, marks and glazed porcelain body were related to specific historic information about used materials and procedure of Sevres french manufactory. The used portable XRF spectrometer allows non destructive and in situ studies of Havana's collections with adequate sensibility for this application. Collections of Havana City Museum, Decorative Art Museum and Napoleonic Museum and some pieces of different background were studied. Non typical pigments used in Sevres allows to identify non genuine Sevres decorations while cluster analysis on porcelain body differentiates Sevres and 'surdecor' porcelains from Sevres style non genuine porcelains. (author)

Indoor air quality of a museum in a subtropical climate: The Oscar Niemeyer museum in Curitiba, Brazil

International Nuclear Information System (INIS)

Godoi, Ricardo H.M.; Carneiro, Barbara H.B.; Paralovo, Sarah L.; Campos, Vania P.; Tavares, Tania M.; Evangelista, Heitor; Van Grieken, Rene; Godoi, Ana F.L.

2013-01-01

The assessment of damage to indoor cultural heritage, in particular by pollutants, is nowadays a major and growing concern for curators and conservators. Nevertheless, although many museums have been widely investigated in Europe, the effects of particulate matter and gaseous pollutants in museums under tropical and subtropical climates and with different economic realities are still unclear. An important portion of the world's cultural heritage is currently in tropical countries where both human and financial resources for preserving museum collections are limited. Hence, our aim is to assess the damage that can be caused to the artwork by pollution in hot and humid environments, where air quality and microclimatic condition differences can cause deterioration. As a case study, particulate matter as well as gases were collected at the Oscar Niemeyer Museum (MON) in Curitiba, Brazil, where large modern and contemporary works of art are displayed. NO 2 , SO 2 , O 3 , Acetic Acid, Formic Acids and BTEX, in the ambient air, were sampled by means of passive diffusive sampling and their concentrations were determined by IC or GC–MS. The particulate matter was collected in bulk form and analyzed with the use of energy dispersive X-ray fluorescence and aethalometer. The chemical compositions of individual particles were quantitatively elucidated, including low-Z components like C, N and O, as well as higher-Z elements, using automated electron probe microanalysis. The gaseous and particulate matter levels were then compared with the concentrations obtained for the same pollutants in other museums, located in places with different climates, and with some reference values provided by international cultural heritage conservation centers. Results are interpreted separately and as a whole with the specific aim of identifying compounds that could contribute to the chemical reactions taking place on the surfaces of artifacts and which could potentially cause irreversible

Reflections of the academician of AUAS Fedor Schmitt on the museum audience of 1910-1920s and the relevance of their study in the context of museum sociology in Ukraine (1990-2000s years

Directory of Open Access Journals (Sweden)

T. O. Kutsaeva

2017-06-01

Full Text Available The aim of the research is to study the origins of the actual direction of the museum activities  development in Ukraine — museum sociology, which has been described in the significant array of publications starting from the early 1990’s. Those publications are focused on different aspects of learning of needs, motivations, expectations, behaviors, a social-demographic portrait and categories of the museum audience. It has been shown that the attention of the Ukrainian museum staff to the discussed aspects is not only limited by year 1991. The scientific heritage of the academician of All-Ukrainian Academy of Sciences Fedor Schmitt (1877-1937 has been analyzed by the author of the study in order to separate aspects of his activity that can become the certain foundations of the study of the museums audience (museum sociology both in the days of the scientist and in modern Ukraine. The Soviet system not only denied his progressive views, but condemned them to death. It has been summarized by the author that most Schmitt’s papers on the issues of the museum audience were published during the scientist’s work in Kharkiv in 1912-1921. It is quite predictable that the issue of the museum audience was studied by the heritage saver and art scientist. Beginning of Ukrainian school of museology, where the leader was Mykola Bilyashivsky, the director of Kiev Museum of Antiquities and Arts (National History Museum of Ukraine, happened within the Archaeological Commission under the Ukrainian Academy of Sciences. It was led by F. Schmitt. The draft charter of commission, designed by him, pushed to the study of the theory and practice of museology in all its spheres. Schmitt’s ideas on museums that had to be built on the territory of  the Russian Empire, which suffered from the First World War, were formed under the influence of his travels to cultural centers of Europe. Although none of F. Schmitt works before the beginning of 1920s included

How the United States Funds the Arts. Third Edition

Science.gov (United States)

National Endowment for the Arts, 2012

2012-01-01

The infrastructure for arts and cultural support in the United States is complex and adaptive. Citizens who enjoy the arts can choose from a wide array of drama, visual and media arts, dance, music, and literature available in formal and informal settings--theaters, museums, and concert halls, but also libraries, schools, places of worship,…

MUSEUM TARI DI MAKASSAR DENGAN PENDEKATAN EKSPOSE STRUKTUR PADA FASAD BANGUNAN DAN PENERAPAN TEORI FRAKTAL

Directory of Open Access Journals (Sweden)

Taufik Arfan

2015-12-01

Full Text Available Abstrak—Pentingnya museum tari di Makassar adalah untuk memperkenalkan budaya yang dimiliki di Sulawesi Selatan yang dapat dikenal oleh seluruh manca negara, serta parawisatawan dan semua orang untuk berkunjung. Tujuan penelitian non arsitektural ini adalah menampilkan unsur kebudayaan, sejarah serta memperkenalkan Tari Tradisional yang ada di Sulawesi Selatan, sedangkan tujuan arsitekturalnya adalah menentukan lokasi yang sesuai dengan keberadaan museum tari, merancang ruang-ruang yang dibutuhkan sesuai dengan standar Museum serta kebutuhan ruang untuk Museum seni tari, merancang museum tari yang dikaitkan dengan ekspos struktur pada fasad dan penggabungannya dengan teori fraktal, merancang penggunaan fasad bangunan,struktur, utilitas, penampilan bangunan, serta tranformasi bentuk pada museum tari dan merancang tata massa pada museum tari. Hasil laporan ini adalah mendesain bangunan museum tari di Makassar dengan pendekatan ekspos pada struktur fasade bangunan dan penerapan teori fraktal yang disesuaikan dengan standar dan kebutuhan ruang. Kata Kunci :Museum tari, struktur, fasad, fractal Abstract-The importance of dance in Makassar museum is to introduce a culture held in South Sulawesi, which can be known by all foreign countries, as well as parawisatawan and everyone to visit. The research objective non architecturally it is featuring elements of culture, history and introduce Traditional Dance in South Sulawesi, while the purpose of the architectural is to determine the location that corresponds to the existence of the museum of dance, designing spaces required in accordance with the standards Museum as well as the need for space for art museum dance, design a museum of dance that is associated with exposure to the facade structure and merger with fractal theory, designing the use of facades of buildings, structures, utilities, appearance of the building, as well as the transformation of the museum forms of dance and design the masses on

Sulla digitalizzazione della street art. Linee guida per un'analisi del museo virtuale Reggiane Urban Gallery

Directory of Open Access Journals (Sweden)

Damiano Razzoli

2017-09-01

Full Text Available Reggiane Urban Gallery is a virtual museum based on the abandoned industrial plant of ex-Officine Reggiane in Reggio Emilia, now in restoration. Along the years the place has become an open space for local and national street-artists. The aim of this paper is to analyze the use of virtual reality and navigable interface as a solution for the conservation of the Street Art, in relation to the fact that many pieces would have been lost due to the demolition of several walls. Also, the analysis proposes guidelines for a digitalization of Street Art that could prevent the displacement of situated Street Art pieces in museums and encourage the creation of street art locative media museum, supported on four concepts - dispositive/device, locativity, topographic database, interface - and one discoursive feature designing the mediated experience of urban crossing practices: the mimetical relation between the software cultural components and Street Art.

76 FR 12399 - Culturally Significant Objects Imported for Exhibition Determinations: “Paris: Life & Luxury”

Science.gov (United States)

2011-03-07

... the exhibition ``Paris: Life & Luxury,'' imported from abroad for temporary exhibition within the... objects at the J. Paul Getty Museum, Los Angeles, California, from on or about April 26, 2011, until on or about August 7, 2011, the Museum of Fine Arts, Houston, Texas, from on or about [[Page 12400

78 FR 27470 - Culturally Significant Objects Imported for Exhibition Determinations: “Impressionists on the Water”

Science.gov (United States)

2013-05-10

... on the Water,'' imported from abroad for temporary exhibition within the United States, are of... custodians. I also determine that the exhibition or display of the exhibit objects at the Fine Arts Museums..., 2013; the Peabody Essex Museum, Salem, MA, from on or about November 9, 2013, until on or about...

77 FR 23498 - Notice of Intent To Repatriate Cultural Items: The Colorado College, Colorado Springs, CO

Science.gov (United States)

2012-04-19

... Taylor Museum and the Colorado Springs Fine Arts Center) and the Denver Museum of Nature & Science... Davis, Chief of Staff, President's Office, Colorado College, Armstrong Hall, Room 201, 14 E. Cache La... objects, as well as other cultural items were removed from Canyon de Chelly, Apache County, AZ, under the...

L’Arte tra distopie e utopie - Art between dystopia and utopia

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Roberta Cafuri

2012-10-01

Full Text Available After defining the meaning of dystopia and reconstructing the theoretical model of social and natural dystopia through the analysis of two texts: 1984 by George Orwell and The Time Machine by H.G. Wells, the author confronts these texts with Michel Foucault’s philosophical thought in order to analyze the various control techniques used by power which are illustrated by different types of dystopia. Walter Benjamin’s reflections are useful as a stimulus to rethink the basis through which a utopic version of the future can be imagined. Some of his pages on collective dream written in the 30’s contain illuminating indications about a different use of imagination which could be made in order to analyze the present reality through dialectic and to claim a better future through art. Art can play a key role in order to avoid that the future resembles the past too much as happens with dystopia. The author will then analyze the use of imagination in contemporary Aboriginal Australian art which has drawn its inspiration from the Dreamtime in order to awaken both the indigenous people and the nonAboriginal elites from sleep. The rediscovery of the importance of collective dream in connection to the cultural heritage that tells the origin of the continent and of its population has in fact been used to claim the rights to the land from which the Aboriginal had been expropriated by the colonizers. In this case the recovery of the past is a utopian vision of the future. About the relationship between past and future the author will refer to Adorno’s reflections and will then consider some Italian exhibitions about utopia in contemporary art as well as the utopian conception of the museum. Always conceived as an architectural space, as a static container of natural and socio-economic history, the conception of the museum was revived by the African artist Meschac Gaba in the shape of a travelling museum which was open to the future. According to the

Experiencing memory museums in Berlin. The Otto Weidt Workshop for the Blind Museum and the Jewish Museum Berlin

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Ana Souto

2018-03-01

Full Text Available This article explores memory studies from the audience’s perspective, focusing on the perception of Holocaust narratives in two museums in Berlin. This research builds on and contributes to a number of emerging issues on memory studies, tourism perception and museum design: the debate on experiential authenticity, Dark Tourism, as well as the analysis of memory studies from the perspective of the user. The main data facilitating the analysis is based on responses shared on TripAdvisor; the case studies being the Otto Weidt Workshop for the Blind Museum and the Jewish Museum Berlin. The analysis of these museums, focusing on their narratives, design features and comments from visitors, will highlight a potential shift from the traditional object-focused museum, to a phenomenological subject-focused one. It will be argued, then, that the understanding and consumption of authenticity encompasses a very flexible definition, not only based on the nature of the objects exhibited, but on the production of authentic experiences.

A Survey of Teen Museum Education Participants and Their Parents

Science.gov (United States)

Hornby, Jenny; Bobick, Bryna

2016-01-01

In this article, we discuss a museum program for teens located in an urban environment. The participants were high school students from public, private, religious and home schools. The program allowed learning to occur in an informal setting and united teens from one city through a common interest in visual art. Also, it was an opportunity for the…

Mummies & Magic.

Science.gov (United States)

Casey, Jeanne E.

1989-01-01

Covers the cultural and aesthetic significance of Egyptian mummies, as explained in an exhibition at Boston's Museum of Fine Arts. The display, "Mummies & Magic: The Funerary Arts of Ancient Egypt," allowed for restoration work which did much to advance modern knowledge of Egyptian culture and funerary art. (LS)

Art, fisheries and ethnobiology.

Science.gov (United States)

Begossi, Alpina; Caires, Rodrigo

2015-02-23

Nature is perceived in a variety of forms, and the perception of nature can also be expressed in different ways. Local art may represent the perception of nature by humans. It can embody perception, imagination and wisdom. Local art, in particular, reflects how people interact with nature. For example, when studying the representation of fish by different cultures, it is possible to access information on the fish species found in the environment, on its relative importance, and on historical events, among others. In this context, art can be used to obtain information on historical events, species abundance, ecology, and behaviour, for example. It can also serve to compare baselines by examining temporal and spatial scales. This study aims to analyse art and nature from a human ecological perspective: art can understood as an indicator of fish abundance or salience. Art has a variety of dimensions and perspectives. Art can also be associated with conservation ecology, being useful to reinterpret ecological baselines. A variety of paintings on fish, as well as paintings from local art, are explored in this study. They are analyzed as representing important fish, spatially and historically. A survey regarding the fish found in different paintings was conducted using art books and museum books. Pictures were taken by visiting museums, particularly for local or traditional art (Australia and Cape Town). The fish illustrated here seem to be commonly important in terms of salience. For example, Coryphaena spp. is abundant in Greece, Nile tilapia in Egypt, Gadus morhua in the Netherlands, as well as barracuda in Australia; salience is also applied to useful, noticeable or beautiful organisms, such as Carassius auratus (China). Another aspect of salience, the diversity of a group, is also represented by the panel where Uraspis uraspis appears to be depicted. Regarding the evaluation of baselines, we should consider that art may represent abundant fish in certain historic

Interdisciplinary arts and health practice with an institutional logics perspective

DEFF Research Database (Denmark)

Jensen, Anita

2018-01-01

Background:Investigating the interdisciplinary relationships between stakeholders engaged in arts and health practice in the UK and Denmark, specifically with regard to institutional logics theory. The identified stakeholders: health professionals, museum educators and mental health service users....... Method:Semi-structured interviews were conducted with 30 participants: health professionals, museum educators and service users. Data were collected in Denmark and the UK. A thematic approach was used to analyse the data and theoretical lenses of sociological theories, and institutional logics explored...... the findings. Results:The interdisciplinary work in arts and health is complex, given the different disciplines and institutions involved. Findings illustrate that institutional logics play a vital and ambiguous part in arts and health practice and that this presents a challenge for interdisciplinary working...

Musei parlanti. Corrado Ricci e la sfida di comunicare ad un ampio pubblico / Talking museums. Corrado Ricci and the challenge of communicating the museum to a wide audience

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Silvia Cecchini

2013-05-01

Full Text Available Nel ruolo di direttore di musei Corrado Ricci sperimenta, tra il 1893 e il 1904, la possibilità di far comunicare il museo con un pubblico più ampio degli addetti ai lavori attraverso sale allestite secondo un impianto tipologico-iconografico.  Crea così le sale storico-topografiche e le sale dei ritratti. Il modello viene realizzato per la prima volta nella Galleria Reale di Parma, poi replicato nella Galleria Estense di Modena, nell’Accademia Carrara di Bergamo, ed anche nella mostra temporanea dedicata all’antica arte senese. Introduce uno spazio di mediazione tra gli spazi della città e le sale del museo, tra il tempo presente della vita e il passato ritratto nei quadri. Proposte che oggi ci possono sollecitare a riflettere sul ruolo della ricerca e su quello della traduzione, momenti essenziali del messaggio che il museo vorrebbe trasmettere.   As Museum Director Corrado Ricci experiences, between 1893 and 1904, the ability to communicate the Museum to a wider audience then the scholars through halls outfitted with a typological-iconographic system. He creates topographic-historic rooms and rooms of portraits. The model is realized for the first time in the Royal Gallery of Parma, then replicated in Galleria Estense in Modena, in the Accademia Carrara of Bergamo, and also in the temporary exhibition dedicated to ancient art of Siena. He introduces a mediation between the spaces of the city and the rooms of the Museum, between the present life and the past of the paintings. Proposals that today we shall seek to reflect on the role of research and translation, essential moments of the message that the Museum would like to transmit.

Factors Influencing Museum Sustainability and Indicators for Museum Sustainability Measurement

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Izabela Luiza Pop

2016-01-01

Full Text Available The purpose of this research was to identify the factors upon which museum sustainability depends and the way in which this can be measured. Methodologically, we applied a qualitative research approach, using semi-structured interviews with experts from the Romanian museum sector, complemented by an in-depth study of the literature in this field. Results indicated that any objective measuring of sustainability must take into account the size of a museum’s collections and its organizational structure. It was also found that museum type can affect sustainability via its competitive advantage. However, the sustainability of a museum is not strictly determined by these factors, but also by the management and marketing strategies applied. Based on analysis of literature- and respondent-based factors influencing sustainability, this article proposes a set of 33 indicators that can be used by museums to measure their sustainability, as well as a model that enables evaluation of the sustainability levels of various museums comparatively, regardless of their type, size or importance (e.g., national, regional and local. The results obtained are useful both from a theoretical point of view, given that there are few writings on this topic, and from a practical point of view, as they provide a basis for a clear, objective model of museum sustainability measurement.

Functionless: science museums and the display of ‘pure objects’

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Dr Jean-Francois Gauvin

2016-03-01

Full Text Available I argue in this article that the tangible proximity, the sensual evocative power of things is lost in a visit to the museum. Too often the aesthetic form of the exhibition utterly destroys the objects’ core material function. One of my contentions is that we cannot think with objects we are unfamiliar with, or cannot fully grasp and manipulate. In a museum we are compelled to admire the objects’ formal and abstract ‘beauty’. They have been robbed of their function: they are functionless. I address this long-standing dichotomy between form and function. I argue that Art has undesirably become one of the chief criteria of museum exhibition design. Though artistic attributes can at times acquire epistemic value, as I will illustrate with an example taken from the French Enlightenment, modern science exhibition design tends to utterly obscure the latter in favour of the former. Science museums, I propose, need to better adapt their discourse and presentation to the research programme developed over the last thirty years in the field of science studies: the history, philosophy, and sociology of experimentation, in which instrumentation and laboratory performance play a crucial analytical role in our understanding of scientific practices.

Museum as spacecraft: a building in virtual space

Science.gov (United States)

Aguilera, Julieta C.

2014-02-01

This paper presents several immersion and interaction related visualizations that engage visitors in the context of an astronomy museum in order to help them build a mental model of the building as a whole, corresponding to the body of a spacecraft, and its parts considered individually, corresponding to the knowledge articulated from different scales in the Universe. Aspects of embodiment are utilized to find parallels with current trans-disciplinary theoretical developments in media arts.

The Development of Museology in Turkey, a Spatial Analysis of Museums and their Contribution to Tourism in Turkey

OpenAIRE

Ismail Kervankiran; Kadir Temurcin; Mustafa Yakar

2016-01-01

Cultural attractions include museums, art galleries, festivals, ancient structures, historical and architectural monuments, heritage sites, artistic activities and demonstrations as well as religious trips, language characteristics, local and authentic values, olimpiads, clothing style, traditions, and food culture. As being one of the most important components of cultural tourism, the museums in recent years have experienced a change in their functions, increased the number of tourists and p...

Museums Connect: Teaching Public History through Transnational Museum Partnerships

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Richard J. W. Harker

2015-12-01

Full Text Available Museums Connect is a program funded by the US Department of State and administered by the American Alliance of Museums that sponsors transnational museum partnerships. This program provides one model for teaching public history in a transnational context, and this article analyzes the experiences of two university-museums—the Museum of History and Holocaust Education (MHHE in the United States and the Ben M’sik Community Museum (BMCM in Morocco—during two grants between 2009 and 2012. In exploring the impact of the program on the staff, faculty, and students involved and by analyzing the experiences and reflections of participants, I argue that this program can generate positive pedagogical experiences. However, in addition to the successes of the MHHE and BMCM during their two grants, the participants encountered significant power differentials that manifested themselves in both the processes and products of the grants. It is the conclusion of this article that both partners in a public history project need to address and confront potential power issues at the outset in order to achieve a more balanced, collaborative partnership.

ESTRATEGIA Y DESARROLLO DE PROYECTOS DE INVESTIGACIÓN EN ARTE CONTEMPORANEO. Tres aportaciones desde el Instituto Valenciano de Arte Moderno (IVAM)

OpenAIRE

MARTÍNEZ LÓPEZ, MARÍA TERESA

2016-01-01

[EN] Starting from a historical approach to contemporary Art museums in Spain, this thesis defines the particularities and uniqueness of the model proposed by the Valencian Institute of Modern Art (IVAM); our research has been raised from the IVAM Restoration Department, to pose strategies and schemes based on the many variables that affect the physical realization of Contemporary Art works, as well as its "staging" in three specific projects: 1. The documentation of especially complex art...

The influence of atmospheric pollutants on the deterioration of museum collections

International Nuclear Information System (INIS)

Injuk, J.; Van Grieken, R.

2001-01-01

In view of the above issues, the purpose of our research effort was to establish the ranges of chemical composition, concentration, size distribution and sources of the airborne particulate matter found in the indoor atmosphere of several European and one Japanese museum. The chemical composition, size and indoor and outdoor origin of the suspended particulate matter have been identified with a number of X-ray techniques such as electron Probe X-Ray microanalysis (EPXMA) and energy Dispersive X-ray Fluorescence Analysis. Our results constitute to our knowledge the first detailed study of the chemical nature of the indoor particulate matter in the selected museums and to the lasting conservation of the works of art

Art Forms.

Science.gov (United States)

Hoekstra, Joel

2002-01-01

Describes the Fine Arts Interdisciplinary Resource (FAIR) Arts Middle School in Crystal, Minnesota, an award-winning school building that the architects hope will create a more conducive learning environment. Includes photographs and floor plans. (EV)

Spectacular Attractions: Museums, Audio-Visuals and the Ghosts of Memory

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Mandelli Elisa

2015-12-01

Full Text Available In the last decades, moving images have become a common feature not only in art museums, but also in a wide range of institutions devoted to the conservation and transmission of memory. This paper focuses on the role of audio-visuals in the exhibition design of history and memory museums, arguing that they are privileged means to achieve the spectacular effects and the visitors’ emotional and “experiential” engagement that constitute the main objective of contemporary museums. I will discuss this topic through the concept of “cinematic attraction,” claiming that when embedded in displays, films and moving images often produce spectacular mises en scène with immersive effects, creating wonder and astonishment, and involving visitors on an emotional, visceral and physical level. Moreover, I will consider the diffusion of audio-visual witnesses of real or imaginary historical characters, presented in Phantasmagoria-like displays that simulate ghostly and uncanny apparitions, creating an ambiguous and often problematic coexistence of truth and illusion, subjectivity and objectivity, facts and imagination.

The Development of Museology in Turkey, a Spatial Analysis of Museums and their Contribution to Tourism in Turkey

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Ismail Kervankiran

2016-07-01

Full Text Available Cultural attractions include museums, art galleries, festivals, ancient structures, historical and architectural monuments, heritage sites, artistic activities and demonstrations as well as religious trips, language characteristics, local and authentic values, olimpiads, clothing style, traditions, and food culture. As being one of the most important components of cultural tourism, the museums in recent years have experienced a change in their functions, increased the number of tourists and provided economic benefits in their regions by creating alternative destinations for tourism. For this reason the museums, the integral part of tourism, receive increasing investments and new museums are constructed with different functions and the presentation of different products to attract more visitors. This study was conducted to evaluate the development of the museums, to spatially analyze the number of museums, their visitor numbers and incomes by province, and to determine the contribution of museums to tourism in Turkey. The number of museums in Turkey obtained from the Ministry of Culture and Tourism, TÜRSAB and TÜİK, the number of artifacts in these museums, the number of visitors to these museums and the subsequent revenues according to the spatial distribution in the provinces have been mapped with the Geographical Information Systems (GIS and the spatial analysis (Standard Deviation Ellipse, Moran’s I, LISA of the museum indicators has been carried out and the results evaluated. Although museums have long been studied in Turkey with their different characteristics, the studies concerning the use of museums for tourism are quite new. As seen from the number of museums and their visitors, the museums are not being used sufficiently in Turkey. Apart from a very limited number of examples such as Topkapı Palace, Hagia Sophia Museum, Konya Museum, and Anıtkabir, the museums in Turkey are not sufficient in terms of their qualifications and the

Real/Life: New British Art and the Reception of Contemporary British Art in Japan

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Kajiya Kenji

2016-07-01

Full Text Available This essay explores the ways in which the exhibition Real/Life: New British Art was conceived and received in Japan, where contemporary British art has been shown since the 1960s. Taking place at five museums in the country between 1998 and 1999, the exhibition aimed to showhow British artists in the 1990s struggled with realities, internal and external, but its response was not as satisfactory as was expected. The essay examines the exhibition as a turning point for the transformation of exhibition culture in Japan from nationally themed exhibitions to showcases of contemporary art in the global context.

Unlikely cryptfellows: hospitality, difference, and spectrality at the 9/11 Museum

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Lindsay Anne Balfour

2015-12-01

Full Text Available This paper offers a reading of the National September 11 Memorial and Museum to suggest that the encounter with strangers or strangeness is at the core of cultural and commemorative production in the aftermath of a terrorist attack. Specifically, I engage the museum as a text that has significant implications on how we approach the philosophy of hospitality in a time of terror. I argue that the ways in which objects and artifacts exist in relation to one another in the museum act out hospitality in ways that are both unexpected and unintended. For example, while human remains are stored on site, they are only referred to through symbolic art and digital displays that act as a kind of sleight of hand. In particular, I take up the inclusion of a brick from Osama Bin Laden's Abbottabad compound in Pakistan that has been incorporated into the museum in a fashion that is carefully orchestrated and framed. The brick, however, exceeds the frame in which it is permitted to be included in the exhibit; its visuality and materiality defy—and even contradict—the expected narrative of the museum. The brick appears as juxtaposed next to a Navy SEAL uniform and is meant to draw attention toward the distinction between terrorist and national hero, yet as a physical presence in the museum, it retains a sense of both vulnerability and affect as it bears striking resemblance to the bedrock of the towers themselves. Ultimately, I suggest that while the disjunctures between artifacts may seem initially jarring—these are items, after all, that are meant to produce very different material and mediatized effects; they offer a working-through of a hospitality that is crucial to the museum and all culture produced in response to the attacks.

Fantastic art, Barr, surrealism

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Tessel M. Bauduin

2017-12-01

Full Text Available In 1936 Alfred Barr, jr., curator-director of the Museum of Modern Art, New York, organised the first large-scale American show about dada and surrealism, which he named Fantastic Art, Dada, Surrealism. This show would have a considerable impact, not least because of its introduction of ‘fantastic’ as a category of visual art closely related to surrealism. But how and why did Barr arrive at this label? This article explores several sources, including surrealist lectures, early twentieth-century Belgian art history and art criticism, and art historical debates about form vs. content, south vs. north, and reason vs. fantasy. Some suggestion are made as to why Barr considered ‘fantastic’ relevant at that time, including to set it against Cubism and Abstract Art and to make a—partly political—point about the form/content-dichotomy and the validity of romanticism, sentiment and the fantastic.

Constructing an Evaluation Framework for Eco-Museum Operations-Management Performance, Based on the Case of Jhushan, Taiwan

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Kuo-Wei Hsu

2018-06-01

Full Text Available The bamboo-art industry in Taiwan’s Jhushan Township is inseparable from local life. In the face of local industrial-development difficulties in smaller towns, the Taiwan government aimed to achieve a range of (redevelopment goals using eco-museums as collaboration platforms and required such museums to combine their operations management with cultural preservation, local industrial development, and local residents’ goals. As such, the likely future performance of such operations management has emerged as a crucially important factor in decision-making about whether such museums should be constructed. This study, therefore, reviews the relevant literature on the operations-management performance of museums, with special attention to eco-museums, and proposes an operations-management performance measurement framework for eco-museums based on that review and a two-stage questionnaire administered to experts. The first stage utilized the Fuzzy Delphi Method, which focuses on impact factors, and the second, the Analytica Network Process Method, deals with performance factors. The results indicate that the key impacts on the performance of eco-museums and their operations management were, in order of importance, (1 community symbiosis, (2 cultural inheritance, and (3 regional revitalization. The preservation of cultural heritage, local identity, and community participation are the most important criteria in the operations management of eco-museums, and Jhushan Town can promote such museums through these guidelines.

Fine art of coking

Energy Technology Data Exchange (ETDEWEB)

Dresner, S.

1984-01-01

The art and science of coking are discussed. Coke is the solid carbon made from the heavy, viscous residue left after the more useful products such as gasoline and diesel fuel have been refined out of the crude oil. Fuel grade coke can be a substitute for steam coal in many applications. Low-sulfur fuel coke is used in blast furnaces for steelmaking. The operations of Conoco's refineries for producing coke is described.

Communicative Functions of the Museum Lobby

DEFF Research Database (Denmark)

Mortensen, Christian Hviid; Rudloff, Maja; Vestergaard, Vitus

2014-01-01

In a time with a heightened focus on how museum architecture and exhibition design shapes the museum visit, the entrance space of museums, the museum lobby, is remarkably absent from the museum literature and research. Still, the museum lobby is the first encounter visitors have with the museum...... and the last impression that they take home and share with others. This article analyzes museum lobbies as communication spaces in order to identify the different functions afforded by such spaces. In an explorative study of five Danish museum lobbies, we offer a preliminary categorization of these functions...

VERBAL IN FINE ARTS: USE OF QUOTES, WORDS AND EXPRESSIONS IN MODERN ART MEMES

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Sapanzha, O.S.

2017-06-01

Full Text Available The article is dedicated to the analysis of verbal art memes as a phenomenon of modern network communication. Based on the typology of art memes (visual, animation, verbal and synthetic we provide the characteristics of the tools used in the construction of verbal art memes. The main method of creating art memes is the method of appropriation. The main device that creates new meanings of artistic images in verbal art memes is the inclusion of speech elements in the work of art. Unlike visual art memes, using professional art of the XX century, a verbal art meme is mass scale by its origin and understandable to a wide audience of network users and consumers of mass art content.

MUSEUMS, MARKETING, TOURISM AND URBAN DEVELOPMENT. THE BRITISH MUSEUM – A SUCCESSFUL MODEL FOR ROMANIAN MUSEUMS

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Răzvan-Andrei CORBOS

2011-01-01

Full Text Available The continuous growth of cultural influence upon the modern societycombined with the increasing role of tourism in the economic life of cities, ledto the development of the “emblem museums”. The “emblem museum”usually becomes a touristic attraction objective that must be visited bytourists from a city, and by taking the decision of prolonging their staying inthat city, the tourists will increase the amount of money they spend in thatlocation. The “emblem museums” represent a way to develop urban tourism,gain competitive advantage and attract new sources of income for the city`seconomy. A recent study showed that 3 out of 10 tourists visited London forits museums. One of them is the British Museum, which, in 2010 was on the2nd place in the top10 world`s most visited museums. This study aims topresent the British Museum from the mix marketing perspective, from thevisitor’s point of view, and to present some of the good practices this giant isusing to attract more visitors and to maintain its competitive advantage,practices which may be used by Romanian museums in order to increase thevisitors number and to obtain a better position in the economy life ofRomanian cities.

The Role of Museums in Recovery From Disaster: The Great East Japan Earthquake and Tsunami

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Sudo Ken‘ichi

2014-12-01

Full Text Available The National Museum of Ethnology (Minpaku was founded in 1974 as an Inter-University Research Institute housing a museum and graduate school. A museum is more than a place to store intangible and tangible heritage. Along with its responsibility for conserving and passing on cultural materials, it also creates new culture. On March 11, 2011, Japan was struck by an earthquake and tsunami of unprecedented proportions. From one month after the disaster, conservation experts from Minpaku participated in the rescue of tangible cultural resources for the period of eight months. At the same time, our disaster response team worked with village residents in damaged localities, assisting their efforts to replace costumes and ornaments for traditional performing arts that had been washed out to sea, or to repair damaged lion heads, to aid in reviving traditional performing arts. We had thought that, in the process of revival and recovery, the re-launch of festivals and traditional performing arts would come later than the construction of the homes and livelihoods of the local people. In one case, Minpaku, based on its research, was able to provide deer antlers for the headdresses needed to revive the deer dance, an intangible cultural heritage of a village in Iwate Prefecture. Village elders worked the antlers we donated, restored the costumes, and within a year were able to produce ten full sets of costumes. Subsequently, the deer dance was performed in village after village to calm the spirits of the dead, ward off evil spirits, and restore the confidence of people afflicted by the disaster. In this way, a traditional performing art contributed to the revival and rebuilding of the affected communities. In another village the repair and restoration of stone lions’ heads and providing aid for refugees from the disaster were further other examples of organized activity carried out in connection with the traditional performing arts. In sum, our experience

Art & Poetry: A Magical Combination. Fine Arts Toolbox.

Science.gov (United States)

Bunchman, Janis; Briggs, Stephanie Bissell

1995-01-01

This article describes how to combine painting and poetry by studying famous paintings and poetry of recognized artists from both media. It covers how to design a project, discussing pictures and poems, and giving children a chance to create their own art. A sidebar lists artists and poets that work well together. Includes extension activities.…

Forgery at the Snite Museum of Art? Improving AMS Radiocarbon Dating at the University of Notre Dame

Science.gov (United States)

Troyer, Laura; Bagwell, Connor; Anderson, Tyler; Clark, Adam; Nelson, Austin; Skulski, Michael; Collon, Philippe

2017-09-01

The Snite Museum of Art recently obtained several donations of artifacts. Five of the pieces lack sufficient background information to prove authenticity and require further analysis to positively determine the artwork's age. One method to determine the artwork's age is radiocarbon dating via Accelerator Mass Spectrometry (AMS) performed at the University of Notre Dame's Nuclear Science Laboratory. Samples are prepared by combustion of a small amount of material and subsequent reduction to carbon into an iron powder matrix (graphitization). The graphitization procedure affects the maximum measurement rate, and a poor graphitization can be detrimental to the AMS measurement of the sample. Previous graphitization procedures resulted in a particle current too low or inconsistent to optimize AMS measurements. Thus, there was a desire to design and refine the graphitization system. The finalized process yielded physically darker samples and increased sample currents by two orders of magnitude. Additionally, the first testing of the samples was successful, yet analysis of the dates proved inconclusive. AMS measurements will be performed again to obtain better sampling statistics in the hopes of narrowing the reported date ranges. NSF and JINA-CEE.

Volcano art at Hawai`i Volcanoes National Park—A science perspective

Science.gov (United States)

Gaddis, Ben; Kauahikaua, James P.

2018-03-26

Long before landscape photography became common, artists sketched and painted scenes of faraway places for the masses. Throughout the 19th century, scientific expeditions to Hawaiʻi routinely employed artists to depict images for the people back home who had funded the exploration and for those with an interest in the newly discovered lands. In Hawaiʻi, artists portrayed the broad variety of people, plant and animal life, and landscapes, but a feature of singular interest was the volcanoes. Painters of early Hawaiian volcano landscapes created art that formed a cohesive body of work known as the “Volcano School” (Forbes, 1992). Jules Tavernier, Charles Furneaux, and D. Howard Hitchcock were probably the best known artists of this school, and their paintings can be found in galleries around the world. Their dramatic paintings were recognized as fine art but were also strong advertisements for tourists to visit Hawaiʻi. Many of these masterpieces are preserved in the Museum and Archive Collection of Hawaiʻi Volcanoes National Park, and in this report we have taken the opportunity to match the artwork with the approximate date and volcanological context of the scene.

2. The Openness of the Visual Art Curriculum towards a New Visual Art Language

Directory of Open Access Journals (Sweden)

Aprotosoaie-Iftimi Ana-Maria

2016-03-01

Full Text Available Visual art curriculum should allow a wide range of activities to develop children's imagination and creativity, to provide a balanced framework for the harmonious development of people who can cope with the massive ammount of images that invade our daily lives. Contemporary art develops a new language - a hybrid language - which for now remains unknown to the majority of the public and it is not integrated into the Arts curriculum. General frame analysis reveals that Fine Arts are studied only up to the 10th grade, except for the humanity profile and for the vocational arts profile. School curricula stipulate fine arts study up to mid twentieth century. Openness towards contemporary art and the language of art starting with the second half of the twentieth century is quite limited even if the curriculum allows a certain flexibility in the approach.

Community projects based on Art & Health: A collaboration between the Faculty of Fine Arts at the Complutense University of Madrid and Madrid city council's Madrid Salud Service

OpenAIRE

Ávila, Noemí; Orellana, Ana M.; Claver, María Dolores; Borrego Hernando, Olga; Antúnez, Noelia; García Cano, Marta; Segura del Pozo, Javier; Belver, Manuel H.; Martínez Cortés, Mercedes; Martínez, Catalina; Jambers, Brigitte; Cortés, Fátima; Yeves, Laura; Soto, María del Carmen; Saavedra Macías, Francisco Javier (Coordinador)

2017-01-01

In 2011 the Faculty of Fine Arts at the Complutense University of Madrid, and Madrid City Council's Health Promotion and Prevention Service (Madrid Salud Service) signed a collaboration agreement for developing joint projects and activities. This mutual collaboration agreement has generated an extremely active working network, in which university students supported by health service professionals plus Faculty academics and researchers have designed, and developed, community projects based on ...

Virtual Museums as Educational Tool

DEFF Research Database (Denmark)

2007-01-01

Virtual Museums as Educational Tool On this web site you will find a collection of resources on virtual museums. The web site is meant to be a knowledge base for people with interest in museums, virtuality and education, and how virtual museums may contribute to adult education and lifelong...

CERN Library | Arthur I. Miller presents "Colliding worlds: How Cutting-Edge Science Is Redefining Contemporary Art" | 21 October

CERN Multimedia

2014-01-01

In recent decades, an exciting new art movement has emerged in which artists illuminate the latest advances in science.   Some of their provocative creations - a live rabbit implanted with the fluorescent gene of a jellyfish, a gigantic glass-and-chrome sculpture of the Big Bang itself - can be seen in traditional art museums and magazines, while others are being made by leading designers at Pixar, Google's Creative Lab and the MIT Media Lab. Arthur I. Miller takes readers on a wild journey to explore this new frontier. From the movement's origins a century ago - when Einstein shaped Cubism and X-rays affected fine photography - to the latest discoveries of biotechnology, cosmology and quantum physics, Miller shows how today's artists and designers are producing work at the cutting edge of science. Tuesday, 21 October 2014 at 14:30 in the Library, Bldg. 52 1-052 https://indico.cern.ch/event/346299/ *Coffee will be served from 2 p.m.* "Colliding Worlds: How Cutt...

Museums and Their Functions.

Science.gov (United States)

Osborne, Harold

1985-01-01

Historical background concerning the nature and function of museums is provided, and the aesthetic functions of museums are discussed. The first major aesthetic function of museums is to preserve the artistic heritage of mankind and to make it widely available. The second major function is patronage. (RM)

Western European Art Foundations and Publishing

Science.gov (United States)

King, Lindsay M.; Clement, Russell T.

2011-01-01

Western European art foundations create invaluable opportunities for research and exhibition by artists, curators, and scholars. These activities are often documented and disseminated via high-quality publications. This article highlights an important but under-recognized collecting resource for academic and museum libraries by profiling several…

Museum education and ‘the desiring eye'

DEFF Research Database (Denmark)

Illeris, Helene

2008-01-01

Abstract/Introduction: During the last 10-20 years significant changes have occurred in educational settings in art museums. Partly as a consequence of constructivist approaches to learning, the position of the ‘good learner' has turned into the position of a subject willing to participate...... in educational projects where students' ways of seeing, students' voices, and students' direct interventions have become central. The ‘desiring eye' focused on sensuous, subjective, and highly individualized forms of viewing has thereby become a central requisite in new educational settings in art galleries...... (Illeris, 2006). In this paper I will use an example from a recent educational project to explore some of the consequences that the involvement of the viewer in participatory activities might have for the act of seeing itself. I will discuss questions such as: How do new forms of experimental educational...

Exhibition “Byzantium through the Centuries” at the State Hermitage Museum, St Petersburg

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Yuri Pyatnitsky

2017-12-01

Full Text Available From June 24 to October 2, 2016, the Hermitage Museum held the exhibition Byzantium through the Centuries that enjoyed an exceptionally great success among the general public and professionals. The exhibition included unknown or little-known icons presented the variety of iconographic centers of Byzantium, and also Early Byzantine silver specimen found in the 19th century in the Crimea and Moldova. The concept – and this defined the structure of the exhibition – was purely art historical: to show the distinctive characteristics of the artistic language of Byzantium. The exhibition was displayed in the Nicholas Hall where visitors could see the art works from the 1st to the mid-15th century; the final chord was the painting Apostle St Peter of the famous El Greco. The objects of the Late Roman and Early Byzantine periods demonstrated the basis that served as foundation for the new Christian art. Works of the 9th - 12th centuries from the museums of Greece, those themed with the art of the Crusaders in Byzantium, and Palaiologan icons of the 14th - mid-15th century – all reflected culture of local medieval centers and the high art of different schools of icon painting. The design of the exhibition made possible to grasp the whole hall, see the amazing unity and diversity of art works, feel their eternal spiritual value, and feel yourself in a special artistic surrounding. In connection with the exhibition the Hermitage issued two publications, a brochure The Art of Devine Beauty and Spirituality (Пятницкий 2016, and a richly illustrated volume Byzantium through the Centuries (Византия 2017.

Projections on museum exhibits - engaging visitors in the museum setting

DEFF Research Database (Denmark)

Basballe, Ditte Amund; Halskov, Kim

2010-01-01

Using animation, text, and visual effects as elements of projections on the Danish rune stone, Mejlbystenen (the Mejlby stone), we have explored approaches to engaging museum visitors. The installation positions itself in the field of previous installations and experiments exploring projection...... on physical objects, but is unique in focusing on fusing the projection and the object in an engaging approach to communicating information at a cultural heritage museum. The Mejlby stone installation is now a permanent installation at a cultural and historical museum, and, based on observation as well...

The museum as information space

DEFF Research Database (Denmark)

Navarrete, T.; Mackenzie Owen, J.

2016-01-01

space to being outside the museum in the online information space of the Internet. This has fundamental implications for the institutional role of museums, our understanding of metadata and the methods of documentation. The onsite museum institution will, eventually, not be able to function...... as an institutional entity on the Internet, for in this new information space, objects, collections and museums, all function as independent components in a vast universe of data, side by side at everyone’s disposal at anytime. Potentially, users can access cultural heritage anytime, anywhere and anyhow. © The Author......Although museums vary in nature and may have been founded for all sorts of reasons, central to all museum institutions are the collected objects. These objects are information carriers organized in a catalogue system. In this chapter, the museum will be conceived as an information space, consisting...

The Behavior of Online Museum Visitors on Facebook Fan Page of the Museum in Indonesia

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Arta Moro Sundjaja

2017-11-01

Full Text Available The objective of this research was to discover the behavior of museum visitors on Facebook fan page in Indonesia based on the user motivation, user expectation, online community involvement, and Facebook fan page of the museum. This research used a quantitative approach to descriptive analysis. The population was the Facebook users who had followed the Facebook fan page of the museum in Indonesia. The samples used were 270 respondents. The researchers distributed the questionnaire to a Facebook group managed by museums or communities. Based on the demographic profile of respondent, the researchers discover that the respondents are highly educated, work as employees or student, and allocate more than Rp500.000,00 per month for traveling expense. Based on social media behavior of the respondents, the respondents are active using Facebook and not aware of the presence of museum in social media. The respondents require museum information, social interaction, and entertainment on Facebook fan page of the museum. Therefore, museum managers must maintain the content quality and perceived usefulness in delivering the information through Facebook. The involvement of cultural community can help people to get honest information about museum through credible opinion from the respondents.

Banner Marks of Ottoman Perıod at Giresun Museum

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Gazanfer İLTAR

2015-12-01

Full Text Available The eleven banner marks among those that were brought together in 1926 to establish a museum at Tokat Gök Medrese (the Celestial Madrasa was sent to Giresun Museum in 1995 in order to be displayed together with other two thousand archaeological and ethnographic pieces. On the banner of one of these marks that was produced with brass hammering technique was written the date “1118/1706-1707”, which is indicated on its inventory record. Such marks that were decorated by using thuluth writing and vegetative motifs were made in the forms of round, drop, palmet and tulip. Generally, there exists a hilly part in the forms of palmet and drop on most of these marks which consist a handle and a body part. Additionally, there appear writings as “Allah, Muhammed, the words of Tawheed, Allah-Muhammed-Ali” on these marks. Today, the marks some of which are exhibited on the display cases and some of which are stored in museums are important in the sense of obtaining information about the art of metalworking in the period these marks were produced.

Knowing Their Place: Feminist Understandings and Perceptions of Women Adult Educators in Museums

Science.gov (United States)

Clover, Darlene E.; Sanford, K.

2016-01-01

Arguing gender inequity remains one of the biggest challenges of our time, and framed within the concept of "pedagogic contact zones", our article shares findings from a five-year feminist, cross-national study of women adult educators and community practitioners in public museums and art galleries in Canada and the United Kingdom.…

National Museum of Military History

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A Nicolaides

2011-01-01

Full Text Available Attractions such as military history museums which exhibit a wide range of important historical artefacts are fundamental sub-elements in any tourism systems, and yet their study suffers from lack of theoretical depth. Military history is an integral element of the history of any nation and countless varieties of tourists both local and international, visit military museums whenever the opportunity presents itself because museums are generally stimulating places of interest. This article focuses predominantly on international tourists visiting the Ditsong National Museum of Military History. In addition to the interest that such museums generate, they play a key role as the organizational foundation stones of modernity. It is via their many interesting exhibits that museums enlighten us about the past that intrinsically highlights its distance from the present era. Museums also selectively reconstitute aspects of history and in so doing alienate many artefacts from their original context and yet manage to impart deep understanding of events that shaped the modern world. Museums of all types thus impart knowledge and have a wide range of tales to tell concerning the many and diverse assortments of objects they hold. National pride is an obvious reason for having a military museum where the comprehensive display of military equipment is exceptionally unique while exhibition halls also offer an educational narrative of a nation’s history. What is also of interest to many visitors is the type of research that is carried out in a multiplicity of ways. The huge global growth in tourism in recent years has contributed to many museums radically altering their exhibits in both content and manner of exhibition. This is significant given the reciprocal impact that museums and tourism have on one another. The attractions in museums are regarded by many to be central to the tourism process and these are very often the main reason for many tourists visiting

Museums as Spaces for Cultural Citizenship

DEFF Research Database (Denmark)

Sattrup, Lise; Lejsgaard Christensen, Julie

2013-01-01

Ten museums and cultural institutions in Denmark examine their role as spaces for cultural citizenship. Based on one exhibition case at Thorvaldsen Museum, the paper will discuss how the theoretical framework of the project challenges the museums.......Ten museums and cultural institutions in Denmark examine their role as spaces for cultural citizenship. Based on one exhibition case at Thorvaldsen Museum, the paper will discuss how the theoretical framework of the project challenges the museums....

Det medialiserede museum

DEFF Research Database (Denmark)

Rudloff, Maja

2013-01-01

Over the past two decades, digital technologies have gained a greater and more important role in communication and dissemination of knowledge by museums. This article argues that the digitization of museum communication can be viewed as a result of a mediatization process that is connected...... to a cultural-political and museological focus on digital dissemination, in which user experience, interactivity, and participation are central concepts. The article argues that the different forms of communication, representation, and reception offered by digital media, together with the interactive and social...... of museum visiting has been transformed and somewhat adapted to new media-created forms of communication and action. From a more general perspective, the article may be regarded as a contribution to a continuous discussion of the role museums must play in a mediatized society....

Developing the Model of "Pedagogical Art Communication" Using Social Phenomenological Analysis: An Introduction to a Research Method and an Example for Its Outcome

Science.gov (United States)

Hofmann, Fabian

2016-01-01

Social phenomenological analysis is presented as a research method for museum and art education. After explaining its methodological background, it is shown how this method has been applied in a study of gallery talks or guided tours in art museums: Analyzing the situation by description and interpretation, a model for understanding gallery talks…

The Predictive Validity of the Torrance Figural Test (Form B) of Creative Thinking in the College of Fine and Applied Arts.

Science.gov (United States)

Stallings, William M.

In an effort to improve the predictability of course grades in the College of Fine and Applied Arts the Torrance Figural Test (Form B) of Creative Thinking was administered to entering 1968 freshmen. Four figural creativity variables (Fluency, Flexibility, Originality, and Elaboration) were correlated with course grades, American College Testing…

Lifelong Learning for People Aged 64+ within the Contemporary Art Gallery Context

Science.gov (United States)

Goulding, Anna

2012-01-01

This paper reports the initial findings from Contemporary Visual Art and Identity Construction--Wellbeing Amongst Older People: a two-year research project that aims to understand how the lives of older people can be improved by examining their use of contemporary visual art in the art gallery and museum. It will focus on data relating to lifelong…

The Rough Journey into Arts Entrepreneurship: Why Arts Entrepreneurship Education Is Still in Its Infancy in the UK and Germany

Science.gov (United States)

Thom, Marco

2017-01-01

Purpose: The purpose of this paper is to elucidate the current state of arts entrepreneurship education at higher educational institutions (HEIs) by reviewing the relevant literature and surveying lecturers in Fine Art. Design/methodology/approach: The analysis of fine art students' educational situation at HEIs in the UK and Germany is conducted…

How Students Transform a "Stuffy Building with a Bunch of Rules."

Science.gov (United States)

Choi, W. Christine

1998-01-01

Describes a program to reinforce the art-history curriculum; establish a volunteer habit; and impact students' self-esteem, communication, and leadership skills through service learning. Discusses student training and service as docents at the Museum of Fine Arts, Houston (Texas), and comments on the skills that they acquire through the…

Analisa Minat Wisata Museum Kota Bandung

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Ani Solihat

2016-09-01

ABSTRACT Museum is a collection of historical objects as evidence that should be known by the public, especially the new generation as a study of the history. In Bandung there are a number of museums including the Geology Museum, Asian-African Museum, Mandala Wangsit Siliwangi Museum, Post Museum, Sri Baduga Museum, and Barli Museum. All six of the museum managed by the government and private parties. Until now the interest of tourists who come to the city of Bandung is just shopping, dining and tours of the city, it is not significant to the interests wisatawa education at the museum in the city of Bandung. Since 2014 Bandung many improvements done in various places, such as parks, Square Bandung, street like Braga as one of the attractions of the past, Dago, including the Asian-African region serve as a place Asian-African Conference ke- 50, it is one of the magnets increase the tourists to visit the city of Bandung. Increasing the tourists should have a great potential for the government of Bandung in increasing interest in the visit to the museum as a means of travel and history education. The purpose of this study was to identify how big tourist interest in visiting Bandung museums. The method used in this research is descriptive quantitative method, while respondents in this study is that Bandung tourists, which is in the area of shopping area, culinary tours, and city tours. The results showed that the interest  Bandung tourists is very low in visiting the museum in the Bandung city.  Keyword : Tourism, Consumer Interest, Museum Tours

Restoran Museum = Museum Restaurant

Index Scriptorium Estoniae

2009-01-01

Tallinnas Vana-Viru 14 asuva restorani Museum sisekujundusest. Sisearhitekt Toomas Korb, tema tähtsamate tööde loetelu. Varem paiknes nendes ruumides tuletõrjemuuseum, endiseid asukaid meenutavad raamitud mustvalged fotod. Ruumi ilmestavad Tom Dixoni loodud kuulvalgustid

Don't Just Applaud - Send Money! The Most Successful Strategies for Funding and Marketing the Arts.

Science.gov (United States)

Reiss, Alvin H.

This handbook/guidebook/manual details marketing and fund-raising strategies that might benefit art organizations. Drawing on sources from the arts community, including orchestras, opera, dance and theater companies, galleries, museums, arts councils, performing arts centers, and a zoo, ideas are presented which have proven successful in actual…

Terra e Arte Project: Soils connecting Art and Education

Science.gov (United States)

Muggler, Cristine Carole; Rozenberg, Bianca; de Cássia Francisco, Talita; Gramacho de Oliveira, Elisa

2015-04-01

The "Terra e Arte" project was designed to combine science and art by approaching soil contents in basic education schools in Viçosa, Minas Gerais, Brazil. The project was developed to awake, sensitize and create awareness about soils and their importance to life and environment within school communities. It was proposed and realized by the Earth Sciences Museum Alexis Dorofeef (MCTAD) of the Federal University of Viçosa (UFV), as part of the celebrations of its 20th anniversary. Since all the schools of the town visit the museum at least once a year and most of them have received and carried out pedagogic projects on soil themes in the last 20 years, it was proposed to them to develop a soil subject with any of their groups and combine it with painting using soil materials. Each group interested in joining the project received a basic set of material to produce soil paints. They were expected to develop a soil theme and its contents for a few weeks and to finalize it with a figurative and textual collective creation that synthetized their learning. 16 of the 24 visited schools joined the project and realized it for an average of two months. During this time, the school groups visited the museum and/or borrowed the itinerant exposition on soils from the museum to work with in in the school community. At the end of the projects, the productions were presented at the Knowledge Market (Feira do Conhecimento) that happens every year in the central square of the town, as part of the National Week of Science and Technology. At the event, 58 works were presented by 14 schools, involving directly 700 pupils and their teachers. They approached themes from soil formation and properties to agroecology and urban occupation and impacts on the soils. 30 of the works were selected for a commemorative exposition and 12 were chosen for a table calendar 2014. The movement created around the project mobilized many people and had strong impact on the school communities, especially

The Art of Copying

DEFF Research Database (Denmark)

Christensen, Hans Dam

2017-01-01

This article discusses copies within the field of art museums by way of mapping strategies for copy practices. This mapping leans heavily towards parts of the writings of Jacques Derrida (1930–2004). Against the backdrop of this theoretical premise, the article distinguishes five main strategies....... An informational copy is just as unique as an original object of art, and at the same time, it defines the original and is itself defined by this opposition. Lastly, the strategy for the imagined relation between original and copy follows. This strategy is dependent upon several of the previous approaches, and...

Pièces liturgiques médiévales moldaves – objets d’art au musée du Monastère de Putna / Moldavian Medieval Liturgical Pieces – Art Objects at the Museum of Putna Monastery

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Emilian Adrian Gavrilean

2015-11-01

Full Text Available Located at 72 km from Suceava Fortress, Putna Monastery Church (1466-1469 dedicated to the,,Assumption of the Virgin” is the first and most important foundation of Stephen the Great and the Saint (1457-1504, built as a princely necropolis. Built in the Moldavian style, with Byzantine, Gothic and Renaissance architectural elements, purpose of this foundations was first of all liturgical, to celebrate The Seven Daily Prayers unto God by the hierarchy church (bishops, priests, deacons, in the center of which is until today the most important mystery of the Christianity - the Eucharist. But the Monastery of Putna was not just a spiritual center of Moldavian Christianity, it was one of the most important centers of medieval art and culture from the Romanian Principalities, here there are significant workshops for embroidery and iconography and a famous school of calligraphers and miniaturists. Most of the objects made here were destined of the religious cult of the monastery as well as Prince donations made of orthodox monasteries. As time passes many of liturgical objects from the altar of Putna have been deposited in the Thesaurus Tower (1481 and then exposed to the general public in the monastery museum which was inaugurated in 1976. Refurbished in 2004, the Putna Monastery Museum, located in the west section of the precinct is perhaps the most rich and valuable in the country, with many objects of the time Stephen the Great and from the period his direct descendants. Here are part of artistic and historical treasure of the monastery, consisting of the manuscripts (Tetraevanghelii, Psalter, educational books, Leastviţe, Psaltichii and embroidery made in the monastery workshops (epitaphs, coverings for holy vessels, procovete, dvere, waves of temples, tombs coverings, priestly vestments, religious books, religious objects (sacred vessels, crosses, icons, censers, candles, ceramics, etc. Spiritual value of liturgical of the objects the Putna

The Art Institution in a Globalizing World

NARCIS (Netherlands)

Gielen, Pascal

2010-01-01

How do oclassicalo big art institutions (museums, the ballet, the opera, symphony orchestras) react to phenomena of globalization such as migration flows, the odenationalizationo of artistic movements, the enormous growth of the number of artists, the trend of a global cultural branding of cities,

Industrial Art: Mission to Meaning

Science.gov (United States)

Wilhelm, Mike

2009-01-01

This is a story about industrial art. It is certainly not a story about smart studios and fashionable galleries, subtle techniques and aesthetic beauty. This is a story of sheet rock, nails, and low-grade lumber in the hands of unskilled teenage laborers. While this story boasts of no future museum pieces, it tells a heartwarming story of rare…

SEMIOTIC MODELS IN MUSEUM COMMUNICATION

Directory of Open Access Journals (Sweden)

Plokhotnyuk Vladimir

2018-02-01

Full Text Available This article proposes a way of formalizing the description of various types of relations between the elements of museum communication based on the semiotic approach and the concepts introduced by F. de Saussure, C.S. Pierce and C.W. Morris. Semiotic models can be used to explain the specifics of museum communication for museum studies and as a methodological basis for developing various versions of databases or other software for museum affairs.

3D technology in fine art and craft exploring 3D printing, scanning, sculpting and milling

CERN Document Server

Mongeon, Bridgette

2015-01-01

The possibilities for creation are endless with 3D printing, sculpting, scanning, and milling, and new opportunities are popping up faster than artists can keep up with them. 3D Technology in Fine Art and Craft takes the mystery out of these exciting new processes by demonstrating how to navigate their digital components and showing their real world applications. Artists will learn to incorporate these new technologies into their studio work and see their creations come to life in a physical form never before possible. Featuring a primer on 3D basics for beginners,interviews, tutorials, and ar

X-ray fluorescence - a non-destructive tool in investigation of Czech fine and applied art objects

Science.gov (United States)

Trojek, T.; Musílek, L.

2017-08-01

A brief review of application of X-ray fluorescence analysis (XRFA) to fine and applied arts related to Czech cultural heritage is presented. The Department of Dosimetry and Application of Ionising Radiation of CTU-FNSPE has used XRFA in collaboration with various Czech institutions dealing with cultural history for many kinds of artefacts, (e.g., Roman and medieval brass, gemstones and noble metals from the sceptre of one of the faculties of the Charles University in Prague, millefiori beads, etc.). In some cases, a combination of various other techniques alongside XRFA was used for enhancing our knowledge of a measured object.

Young people’s own museum views

DEFF Research Database (Denmark)

Drotner, Kirsten; Knudsen, Line Vestergaard; Mortenesen, Christian Hviid

2017-01-01

Taking a mixed-methods, visitor-focused approach to views on museums, this article examines what views young Danes aged 13–23 years (n = 2,350) hold on museums and how these views can be categorized and articulated. Arguing that studying views of museums as socially situated meaning-making practi......Taking a mixed-methods, visitor-focused approach to views on museums, this article examines what views young Danes aged 13–23 years (n = 2,350) hold on museums and how these views can be categorized and articulated. Arguing that studying views of museums as socially situated meaning...

78 FR 25780 - Culturally Significant Objects Imported for Exhibition Determinations: “Koloman Moser”

Science.gov (United States)

2013-05-02

...,'' imported from abroad for temporary exhibition within the United States, are of cultural significance. The... about May 23, 2013, until on or about September 2, 2013; the Museum of Fine Arts, Houston, TX, from on...

Drawing Myth and History in visual art

Directory of Open Access Journals (Sweden)

Jaime de Córdoba

2009-07-01

Full Text Available After the famous exhibition “Copier créer” curated by Jean Pierre Cuzin in the “Musée du Louvre” in 1993, the practice of drawing art has acquired a renovated interest. This exhibition revised the theoretical concepts introduced by Bober and others in the second half of the XXth century and increased the value of the contribution of drawing in the study of art history instead of the idea of copying. An important catalog and essay by Haverkamp, Begemann and Login, titled “Creative copies”, appeared in 1988 and contained the best examples of the main collections. The last but not least important consequence was the collaboration between international museums, using their own spaces, with contemporary artists. The hermeneutic drawings and paintings by Markus Lüpertz in the Munich Glyptotheck and the exhibition of Giacometti’s drawings shown in the IVAM in 2000 are two excellent examples of the European relevance in this field. I want to analyze here twenty years of drawing done in different museums and institutions around the world and its close relationship with the process of recovering our historical memory by using visual art.

Migration, Socially Engaged Museum Theme, and Why Slovenian Museums Successfully Avoid it?

Directory of Open Access Journals (Sweden)

Verena Perko

2016-12-01

Full Text Available In the last year, the refugee crisis has turned into a human tragedy, in many ways resembling that of World War Two. The Mediterranean Sea, the highly praised Mare Nostrum, has become a horrifying collective tomb for countless people. Another consequence of war is also the destruction of historical urban centres, monuments, and other cultural heritage in so-called crisis areas – a destruction which has reached unfathomable proportions. Museums all across the world have actively responded to society’s needs. Their goal has been to encourage an open dialogue in our society, as well as alleviate fear of the unknown, and reduce the tide of hatred before it reaches world-shattering proportions. During the refugee crisis, it has become apparent that an intersocietal dialogue is both a necessity and a definitive imperative; without it, the society of the future cannot possibly be assured. Modern society has given museums the role of being a credible medium with a mission to communicate heritage contents. By using a metaphorical and metonymic language museums have an extraordinary social power and represent a bridge between science and modern society, between societies of the past and present, between the elites and marginal groups. The museum reformers of the second half of the 20th century were of the opinion that, despite many reorganizations, museums cannot serve the needs of modern society. This was the reason a new museology emerged that substantiates museums as a socially responsible institution. It equips that institution with specific theoretical knowledge that enables the conversion of heritage into a socially relevant communication of a nonverbal nature. The article theoretically argues for modern museum concepts and, using them, contemplates social responsibility in the inner workings of Slovenian museums. Contemporary museums or post-museums are institutions that carry out active social tasks. An engaged manner brings along social

Museums & Mermaids: Bringing Climate Literacy to the Party

Science.gov (United States)

Tillinger, D.

2014-12-01

If science is for everyone, then it needs to be taught in environments that are welcoming to people who may not feel at home in a traditional classroom. A team of scientists and educators at the American Museum of Natural History have developed a new course, Our Earth's Future, which prepares participants to contribute intelligently and fluently to informal "cocktail party" conversations about climate and climate change. The course, taught after hours at the museum, culminates in an actual cocktail party in one of the museum's halls where participants can practice their skills. Participants' knowledge of climate change and attitudes towards climate change were quantitatively and qualitatively assessed before and after the two five-week course sessions.Climate literacy can also be included in existing events that are not obviously science-focused. Venues such as festivals, galleries, and underground art parties may be willing to broaden their definition of culture to include science - but only if they are asked. Given the increase in public discourse around the topic of climate change, there is an opportunity to reach people who wouldn't attend a formal science lecture, but might attend a film screening or a fundraiser that had some scientific content. Qualitative audience assessments done after the annual "Mermaid Lagoon," a fundraiser for ocean related causes that includes a scientific segment along with dance and theatrical performances, show increased enthusiasm and support for climate science when it is presented in a relevant, fun, and non-intimidating manner.

As exposições internacionais de arte brasileira: discursos, práticas e interesses em jogo International exhibitions of Brazilian art: speechs, practices and interests involved

Directory of Open Access Journals (Sweden)

Ana Leticia Fialho

2005-12-01

Full Text Available Nos anos 90, a presença da arte brasileira tornou-se cada vez mais freqüente na cena artística internacional. Curadores e demais agentes internacionais vêm adotando um discurso politicamente correto, segundo o qual as fronteiras entre centro e periferia, que sempre organizaram o campo artístico internacional, teriam desaparecido, permitindo assim a valorização da arte de países periféricos pelas instituições mais prestigiosas dos países centrais. Contudo, a maior parte dos diferentes eventos em torno da arte brasileira servem muito pouco à democratização do campo artístico ou à difusão da cultura brasileira no plano internacional. De fato, eles refletem a globalização em seus efeitos perversos, servindo para aumentar o prestígio e o poder econômico de algumas poucas instituições e indivíduos, limitando a cultura brasileira à reprodução de seus estereótipos. Neste artigo, para demonstrar essa idéa, analisam-se em detalhe quatro exposições de arte brasileira organizadas na exterior: Brazil Body and Soul (Museu Guggenheim, Nova Yorque, Hélio Oiticica Quasi-Cinemas (New Museum, Nova Yorque, Un art populaire (Fundação Cartier, Paris, Tunga/Mira Schendel (Galeria Nacional Jeu de Paume, Paris.During the 1990's, the presence of Brazilian Art became more and more visible in the international art scene. Curators and other international agents adopted a kind of "politically-correct" discourse according to which borders between center and periphery - that always organized the international artistic field - would disappear, thus allowing peripheral art to enter the most prestigious institutions of central countries. Nevertheless, most of the exhibitions, including Brazilian art, do not correspond to a democratization of the international artistic field and do not help to promote Brazilian art internationally. In fact, they reflect the perverse consequences of globalization, serving to raise the prestige and the economic

78 FR 51803 - Culturally Significant Objects Imported for Exhibition Determinations: “Léger: Modern Art and the...

Science.gov (United States)

2013-08-21

... ``L[eacute]ger: Modern Art and the Metropolis,'' imported from abroad for temporary exhibition within... objects at the Philadelphia Museum of Art, Philadelphia, Pennsylvania, from on or about October 10, 2013...

Mobile Technologies in Museum Exhibitions

Directory of Open Access Journals (Sweden)

Sandra Medić

2014-10-01

Full Text Available In order to be up–to–date and give visitors a memorable and unique experience, museums are including usage of digital technologies in their exhibitions. Even though museums in Serbia are very important part of tourism offer, they still have traditional settings that are poorly interpreted. The majority of them have a scientific and historical review which is unattractive for various target groups of visitors and for museums it’s important to continually try out new ways in interpretation of their settings. Because technology continues to rapidly change the way we communicate, cultural institutions should adapt to new ways of communication with their visitors. This paper examines mobile technologies that can be used in museums to give visitors a different experience and transfer the knowledge innovatively. In that way it will be presented the modern concept of presentation of museum exhibitions, focusing on usage of mobile devices through mobile applications and QR codes. The paper provides the broad understanding of usage mobile technologies in museum exhibitions with its advantages and limitations. The research results can help the museums management to improve interpretation and communication with visitors and enrich the visitor experience.

CyberArts Showcase features artistic exploration of CAVE technology, live web cast

OpenAIRE

Watson-Bloch, Cathy

2005-01-01

Experience a 21st-century exploration of the place where art and science/technology meet, where reality and cyber worlds collide. The CyberArts Showcase, an innovative, virtual art museum of student works that uses technology to create inventive, interactive worlds of digital art, will be held from 5 p.m. to 8 p.m. on Friday, April 15, at Torgersen Hall on Virginia Tech's campus. Roberto Bocci, multimedia artist and professor of digital art at Georgetown University will open the event.

RESOURCE CENTRE AT THE SOUTH AFRICAN MUSEUM

African Journals Online (AJOL)

ciunl ictlt.P cnnipc;. Material from other museums. Worksheets, activity books, guides, pamp~lets and other educational material from museums 1n Southern. Africa and overseas are kept in the museum education section of the Resource Centre. General infonnation on museums and museum technology are also collected.

‘Canonization in early twentieth-century Chinese art history’

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Guo Hui

2014-06-01

Full Text Available Since the 1980s, the discussion of canons has been a dominant theme in the discipline of Western art history. Various concerns have emerged regarding ‘questions of artistic judgment’, ‘the history genesis of masterpieces’, ‘variations in taste’, ‘the social instruments of canonicity’, and ‘how canons disappear’. Western art historians have considered how the canon’s appearance in Western visual art embodies aesthetic, ideological, cultural, social, and symbolic values. In Chinese art history, the idea of a canon including masterpieces, important artists, and forms of art, dates back to the mid ninth century when Zhang Yanyuan wrote his painting history Record of Famous Painters of All the Dynasties. Faced with quite different political, economic, and social conditions amid the instability of the early twentieth century, Chinese scholars attempted to discover new canons for cultural orthodoxy and authority. Modern means for canonization, such as museums and exhibition displays, cultural and academic institutions, and massive art publications with image reproduction in good quality, brought the process up to an unprecedented speed. It is true that most of these means have comparable counterparts in pre-modern times. However, their enormous scope and overwhelming influence are far beyond the reach of their imperial counterparts. Through an inter-textual reading of the publications on Chinese art history in early twentieth-century China, this paper explores the transformation of canons in order to shed light on why and how canonical formation happened during the Republican period of China. Despite the diverse styles and strategies which Chinese writers used in their narratives, Chinese art historical books produced during the Republican period canonized and de-canonized artworks. In this paper, the discussion of these texts, with reference to other art historical works, comprises three parts: 1 canon formation of artistic forms

The Economic Impact of Ten Cultural Institutions on the Economy of the Salt Lake SMSA.

Science.gov (United States)

Cwi, David

The impact of 10 cultural institutions on the Salt Lake City economy was determined by measuring their 1978 direct and indirect financial effects. The institutions are Ballet West, Pioneer Memorial Theatre, Repertory Dance Theatre, Salt Lake City Art Center, Theatre 138, Tiffany's Attic, Utah Museum of Fine Arts, Utah Symphony, Utah Opera Company,…

Senses of the past in the museum: concordance and dissonance of voices

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Lana Mara Castro Siman

2012-03-01

Full Text Available The article examines, from a game of voices, gestures and body movements during a tour of  students from Educação de Jovens e Adultos (EJA to Museu de Artes e Ofícios de Belo Horizonte, senses there statements about the past issues pertaining to the world of work in Brazil preindustrial. Aiming to problematize the relationship of memory and history in the perspective of history education, such utterances were verbal and nonverbal documentas through records film, sound and print. The dialogue between data and theoretical references allowed us to highlight both the value of the museum as a place of memory for history education, the challenges presented there for teaching in classrooms, in the moments before, during and after - visiting museums.

VISITING THE MUSEUM OF MADNESS: THE EXPERIENCE OF LEARNING ABOUT THE PSYCHIATRIC REFORM

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Nadja Cristiane Lappann Botti

2006-04-01

Full Text Available ABSTRACT: The Museum of Madness in the landscape of the Minas Gerais State is a place where art, history and memory disclose the differences about the Psychiatry approach since the beginning of the last century till nowadays. A qualitative study with 39 nursing undergraduate students was developed, aiming to identify the meaning of the visit to the Museum of Madness. The methodological referential was the Collective Subject Discourse and the theoretical the Brazilian Psychiatric Reform. The data shows the meaning of the visit as potential experience of learning of the dimensions of the Psychiatric Reform when leads the student to question the practice and to know of Psychiatry in the asylum perspective. KEY WORDS: Nursing Education; Mental Health; Health Care Reform.

The advantages and disadvantages of Art History to Life: Alois Riegl and historicism

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Diana Reynolds Cordileone

2010-12-01

Full Text Available Alois Riegl was one of the seminal art historians of the early twentieth century, but very little is known about his career as adjunct-curator of textiles at the Austrian Museum for Art and Industry. He worked at the Museum from 1884 and combined this position with University teaching until he left this post to become a full Professor of Art History at the University of Vienna in 1897. While interest in Riegl has shown no signs of abating in recent years, most scholars continue to debate Riegl’s theories and methods. The aim of this paper, however, is to demonstrate just how much of Riegl’s theorizing was brought into focus by practical issues at the Museum for Art and Industry. As recent studies have indicated, Riegl was much more than an ivory tower theoretician; his work reverberated with the type of cross-disciplinary cultural criticism we associate with the intellectual life of fin-de-siècle Vienna. Another goal of this paper is to contribute to our expanding understanding of Riegl in his social and institutional contexts. Finally, it traces ways in which Riegl used his early exposure to Nietzsche, particularly Nietzsche’s second Untimely Meditation (The advantages and disadvantages of History to life to craft his responses to contemporary artistic and social crises in the final decade of the nineteenth century.

Is Museum Education "Rocket Science"?

Science.gov (United States)

Dragotto, Erin; Minerva, Christine; Nichols, Michelle

2006-01-01

The field of museum education has advanced and adapted over the years to meet the changing needs of audiences as determined by new research, national policy, and international events. Educators from Chicago's Adler Planetarium & Astronomy Museum provide insight into a (somewhat) typical museum education department, especially geared for readers…

Making medieval art modern

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Elizabeth den Hartog

2015-12-01

Full Text Available Janet T. Marquardt’s book ‘Zodiaque. Making medieval art modern’ discusses the historical context, history and impact of the Zodiaque publications issued by the monks from the abbey of Ste-Marie de la Pierre-qui-Vire in Burgundy between 1951 and 2001 and links the striking photogravures, the core business of these books, to the modern movement. Although Marquardt’s view that the Zodiaque series made a great impact on the study of Romanesque sculpture is somewhat overrated, her claim that the photogravures should be seen as avant-garde works of art and the books as a “museum without walls” is entirely convincing.

Decapitation in reality and fine art: A review.

Science.gov (United States)

Nikolić, Valentina; Savić, Slobodan; Antunović, Vaso; Marinković, Slobodan; Andrieux, Charlotte; Tomić, Irina

2017-11-01

The aim of our study was to examine all types of decapitation from forensic literature, including our own case, and to analyze the presentation of beheading in fine art, popular literature, and music. To do this, over 200 scientific articles in regard to decapitation were analyzed, as well as more than 10,000 artworks, and several hundreds of literary works and music pieces. In addition, a macroscopic examination of a decapitated victim was performed. Finally, a multislice computerized tomography (MSCT) examination of the cervical spine in two live volunteers was undertaken to present the osteological relationships. The forensic and criminal investigation revealed that a female victim was murdered by her jealous husband by applying several strikes with an axe, which resulted in an incomplete decapitation. All the main neck structures were transected, including the cervical spine, except a smaller part of the skin and soft tissue in the nuchal region. The mentioned MSCT examination in both the neutral position and flexion showed that the mandible can also be injured in a higher cervical location of the severance line. Various types of beheading were mentioned, including a homicidal, suicidal, accidental, judicial, internal, pathophysiological, and foetal ones. The status of consciousness and emotions in individuals just before and after decapitation was discussed. Finally, it was found that decapitation was the subject of many artists, and some writers and musicians. In conclusion, we presented a rare case of a homicide beheading performed with an axe. In addition, forensic importance of decapitation was discussed, as well as its great medical, social, anthropological, and artistic significance. Copyright © 2017 Elsevier B.V. All rights reserved.

A singular art : a theoretical and artistic survey on miniature and hybrid possibilities of traditional arts in contemporary art

OpenAIRE

Şener, Seval

2007-01-01

Ankara : The Department of Graphic Design and the Institute of Fine Arts of Bilkent University, 2007. Thesis (Master's) -- Bilkent University, 2007. Includes bibliographical references leaves 81-83 The aim of this study is to point out the problems which are stemmed from the use of traditional arts, particularly miniature, in contemporary art. A theoretical survey on seeing and representation of traditional arts and miniature was made. The result of the survey is that tradit...

Indigenous Art

Science.gov (United States)

Hu, Helen

2012-01-01

Linda Lomahaftewa, a noted painter, has taught at much bigger places than the Institute of American Indian Arts (IAIA). But Lomahaftewa, who is Hopi-Choctaw, and others on the faculty of IAIA are intensely devoted to the mission of this small but unique school. IAIA--the nation's only four-year fine arts institution devoted to American Indian and…

From folk art to fine art: changing paradigms in the historiography of Maithil

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Neel Rekha

2010-06-01

Full Text Available The paper is a brief survey of the historiography of Maithil painting after independence. Tracing the roots of current perceptions of Maithil art to the 1949 article of W.G. Archer, the paper demonstrates how his interpretations were articulated by Maithil and non-Maithil scholars and promoters of Maithil art to project a regional, caste-based and national identity. It also looks at the ways in which Maithil art got misinterpreted with the arrival of western scholars in Mithila. The paper reviews the recent shifts in the historiography of Maithil painting by examining the emergence of Harijan Madhubani art. It examines how the legacy of colonial interpretations, romanticization of past history and debates on innovation and tradition, have changed the trajectories of the historiography of Maithil painting in the past few decades.

77 FR 54647 - Culturally Significant Objects Imported for Exhibition Determinations: “African Art, New York...

Science.gov (United States)

2012-09-05

... Determinations: ``African Art, New York, and the Avant-Garde'' SUMMARY: Notice is hereby given of the following... exhibition ``African Art, New York, and the Avant- Garde,'' imported from abroad for temporary exhibition... exhibit objects at The Metropolitan Museum of Art in New York, New York from on or about November 26, 2012...

Science centres around the world see unrest for art and science in society

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Alessandra Drioli

2009-06-01

Full Text Available In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on the final results of this phenomenon and on what will happen next. Also, emphasis should be put on the importance for each museum to define right from the start an ‘art policy’, even a complex one, but somehow structured, that may be employed at many levels according to the needs of the museum itself.

Géneros y modernidad en la escultura española de fines del siglo XIX. Una aproximación a través de seis piezas del Prado depositadas en Canarias

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Carlos Reyero

2013-11-01

Full Text Available Se analiza un grupo deseis esculturas que pertenecen a las colecciones del Museo del Prado. Están depositadas en el Museo de Bellas Artes de Santa Cruz de Tenerife desde 1908. Estas piezas fueron expuestas en Madrid, poco después de esculpidas o modeladas por sus autores (Moratilla, Carretero, Menéndez Entrialgo, Cabrera, Ridaura y Coullaut-Valera, con motivo de las exposiciones nacionales celebradas en 1867, 1897, 1899 y 1901. A pesar de que la crítica contemporánea subrayó la importancia de los temas para valorarlas, este viejo punto de vista contribuyó a reflexionar sobre las modernas tendencias en la escultura española del siglo XIX.The object of analysis is a group of six sculptures that belongs to the Prado Museum Collections. They are deposited in the Fine Arts Museum of Santa Cruz de Tenerife from 1908. These pieces were exhibited in Madrid, soon after they were carved or modeled by their authors (Moratilla, Carretero, Menéndez Entrialgo, Cabrera, Ridaura y Coullaut-Valera, on the occasion of the national exhibitions celebrated in 1867, 1897, 1899 y 1901. In spite of contemporary criticism emphasized the importance of subjects in order to appraise them, this old point of view contributed to think over modern trends in nineteenth century spanish sculpture.

Dominique Païni and Cinematography at the Museum

OpenAIRE

Di Bastiano, Malena

2015-01-01

Este breve análisis, introduce una reflexión acerca de cómo pensar al cine en el museo a partir de una redefinición de cada uno de estos campos, atendiendo a sus implicancias concretas que surgen de la revisión de la propuesta curatorial y las ideas de Dominique Païni, exdirector del Centre National d’Art et de Culture Georges-Pompidou. This brief article presents a reflection on how to see cinematography within the museum from a redefinition of each of these fields, paying attention to th...

Are Shaman Paintings Material Religion or Religious Art?

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Jong-chun Park

2017-12-01

Full Text Available Laurel Kendall, Jongsung Yang, and Yul Soo Yoon. God Pictures in Korean Contexts: The Ownership and Meaning of Shaman Paintings. Honolulu: University of Hawai'i Press, 2015. God Pictures in Korean Contexts: The Ownership and Meaning of Shaman Paintings is a pioneering work, one that explores the proverbial “road not taken” by previous research on the subject. The authors situate “the lives of Korean shaman paintings [musindo] in a complex South Korean world; in shaman shrines, private collections, and museums." Incorporating their vivid experiences in the field, authors Laurel Kendall, anthropologist and curator at the American Museum of Natural History; Jongsung Yang, collector and director of the Museum of Shamanism in Seoul; and Yul Soo Yoon, art historian and director of the Gahoe Museum in Seoul, investigate not merely the religious meanings and functions of shaman paintings, but how these meanings and functions are accepted, appropriated, and even created, depending on the interests of various participants—shamans, painters, collectors of shaman paintings, and so on—who are relevant to these visual forms of expressive culture.

How to Visit a Museum.

Science.gov (United States)

Rebetez, Pierre

The primary aim of this study is to encourage schools and museums to unite their efforts to further the use of the museum for teaching purposes and to promote the full development of creative faculties. The educational function of the museum is explored in consideration of the thirteen to eighteen year old age group. A recurring theme throughout…

The Conference in the Moscow Kremlin State Museums “Historical Weapons in Museums and Private Collections”

OpenAIRE

Sergey P. Orlenko

2017-01-01

In November 2016 in the Moscow Kremlin State Historical and Cultural Museum and Heritage Site in the framework of events dedicated to the 210th anniversary of the Armoury Chamber museum, an international conference “Historical weapons in museums and private collections”. This scientific forum continued the tradition of conferences held in the Moscow Kremlin Museums in 1999-2007. The participants of this forum discussed a number of priority topics for the studies of the weapon collection h...

Museum metamorphosis à la mode

DEFF Research Database (Denmark)

Baggesen, Rikke Haller

2014-01-01

museum practices correspond to the logic of fashion. Where Foucault once described museums as heterochronias; places representing an ’other-time’, museums now strive to be both of their time and in time with the Zeitgeist. As a consequence, they must keep up with the speedy cycles of technological...... advancements and cultural change, and not only deliver, but also stoke the desire for, novel experiences. The paper explores the current vogue for fashion exhibitions as a case in point, arguing that this trend serves to promote the museum as fashionably current, but can also support novel formats for cultural...

Field Studies for Key Stage 4 on Mine Water Pollution: A University and Museum Collaboration

Science.gov (United States)

Hopwood, Jeremy D.; Berry, Stuart D.; Ambrose, Jayne L.

2013-01-01

This article describes how a university and a museum have worked together to create a "How science works" workshop entitled "What's in our water?" The workshop teaches students about the continuing pollution from a disused coal mine, how the pollution is cleaned up using a state-of-the-art treatment works and how scientists…

Japanese Modernism at a "Branch Point": On the Museum of Modern Art, Hayama’s "1937" Exhibition

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Kevin Michael Smith

2018-03-01

Full Text Available This article frames the Museum of Modern Art, Hayama’s 2017 exhibition on Japanese modernism during the simultaneously vibrant and tumultuous 1930s through the lens of Japan’s uneven capitalist development and wartime mobilization. The author suggests that the exhibition’s unique international scope, rich selection of figurative and abstract modernist works, and emphasis on the year 1937 as a nexus through which the decade’s competing tendencies can be reevaluated readily disclose the constitutive, dialectical relationships between historical difference, total war, and modernist form in imperial Japan and its colonies. The exhibition’s featured works and curator Asaki Yuka’s direction together emphasized the inseparability of Japanese modernism from the encroaching conditions of world war during the late 1930s, thereby contributing to a growing body of scholarship and series of exhibitions challenging the received oppositions between autonomous modernism, proletarian realism, and wartime propaganda. After introductory remarks on the reassessment of 1930s-era Japanese avant-garde aesthetics, the article provides a series of close readings of significant paintings included in the exhibition, including Murai Masanari’s 1937 Urban, Matsumoto Shunsuke’s 1935 Building, and Uchida Iwao’s 1937 Port. These formal readings explore how the year 1937 marked a pivotal “branch point” for Japanese society, not only in terms of the confluence of various artistic trends but also in terms of the fierce opposition between socialism and fascism that bifurcated potentialities for Japan’s future.

3rd February 2011-Science Museum Patrons-Kingdom of Great Britain and Northern Ireland-visiting CMS cavern and LHC Tunnel with A. De Roeck,CMS Collaboration Deputy Spokesperson and M. Lamont,Beams Department, Operation Group Leader

CERN Multimedia

Maximilien Brice

2011-01-01

The delegation: Mr Ian Blatchford,Director of the Science Museum and NMSI Mrs Susan Fisher,Director of Development, National Museum of Science and Industry (NMSI) Dr Douglas Gurr,Chairman of the Board of Trustees, NMSI Mr Martin Smith,Previous NMSI trustee Mrs Elise Smith,Spouse Mr Michael Wilson,NMSI trustee Mrs Jane Wilson,Spouse Mr Gregg Wilson,Son Dr Ann Coxon,UK Friends of the Science Museum Trustee Mr Nicholas Lewis,Contact of Martin Smith accompanied by P. Wells,Physics Department, ATLAS Inner Detector Group Leader and A. Koek,Communication group (International Arts Development, CERN Cultural Policy and Strategy with the Arts, The Collide Programme)

Museums and the Representation of War

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Jay Winter

2012-11-01

Full Text Available Museums are the cathedrals of the twenty-first century, in that they have filled the void left by the conventional churches as a site in which mixed populations of different faiths or no faith at all, of different origins and beliefs, confront and meditate on sacred themes – sacrifice, death, mourning, evil, brotherhood, dignity, transcendence.1 War not only belongs in museums; war dominates museum space in much of the public representation of history and will continue to do so. That being so, it is the task of war museums to persuade visitors to pose the question: how can war be represented? While there is no adequate answer to this question, museum professionals must try to answer it anyway with a large dose of humility. By avoiding the didactic mode, that is, that they know the answer and will present it to the visitors, they can perform a major public service. By admitting the magnitude of the problems inherent in trying to represent war, and through it, trying to represent the pain of others, museum directors and designers fulfil a critical social task. Knowing about war is the business of an informed citizenship, and museums are those sites where moral questions are posed, questions inevitably raised about war, questions about sacrifice, suffering, brotherhood, courage, love, recovery, transcendence. Museums enable visitors to pose these enduring questions, by converting war time into museum space.