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Thematische Bibliographien / Art museums / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Art museums“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 25. Juli 2025

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1

Uralman, Hanzade. "The library of Istanbul Museum of Modern Art: a new type of art museum library for Turkey." Art Libraries Journal 35, no. 2 (2010): 30–34. http://dx.doi.org/10.1017/s0307472200016370.

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Libraries can easily be integrated into a museum’s activities, since museums too have functions that require the processing of information, such as preservation, research and communication. However museums in Turkey were not notable for developing efficient art libraries until Istanbul Museum of Modern Art opened. The distinctiveness of this museum’s library results from a change in the museum environment in Turkey, and the introduction of a number of features that are new in art libraries in this country.

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Gaižutytė-Filipavičienė, Žilvinė. "Meno muziejai ir medijos." Lietuvos kultūros tyrimai 2 (2012): 47–63. https://doi.org/10.53630/lkt.2012_1.3.

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The article deals with interaction of art museums and media in the context of new museological paradigms. The rapid development of digital media technologies and internet in the end of 20th century has led to the emergence of new methods to create art exhibitions and to the understanding of museum itself as medium. Analysing why and in which ways art museums apply new media technologies, the author has identified few important factors. Firstly, the changes of Western museological paradigm in the 910 decades: the shift from “objects” to “ideas”. It also means a change in the concept of museum f

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Mihalache, Irina. "Art Museum Dining: The History of Eating Out at the Art Gallery of Ontario." Museum and Society 15, no. 3 (2018): 287–300. http://dx.doi.org/10.29311/mas.v15i3.2543.

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Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s c

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Park, Kyoung-Shin. "A Study on the Legal Character of Museums and Art Museums under the Promotion Law for Museum and Art Museums of Korea: Focusing on Non-for-Profit Character." Korean Arts Association of Arts Management 65 (February 28, 2023): 211–38. http://dx.doi.org/10.52564/jamp.2023.65.211.

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In August 2022, the International Council of Museums (ICOM) held a general meeting and adopted a new museum definition, which emphasized “diversity”, “sustainability”, and “ethics”, while the expression of “non-profit” was changed to “not-for-profit”. Discussions on non-profit or not-for-profit of museums and art museums are not new, but discussions on whether non-profit or not-for-profit is a prerequisite for museums and galleries under the Promotion Law for Museum and Art Museums of Korea are supposed to intensify in line with ICOM’s revision of definition of museums. In particular, consider

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Aldes, Liora, and Tally Katz-Gerro. "Contextualizing the Artistic Repertoire in Museums." Museum Worlds 10, no. 1 (2022): 93–111. http://dx.doi.org/10.3167/armw.2022.100108.

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To remain financially sustainable while promoting cultural activity and operating within artistic, symbolic, and cultural norms, museums must consider a multitude of commercial and organizational elements. This article examines the impact of economic, organizational, and structural characteristics of art museums on the repertoire of art they exhibit. Using a mixed-methods approach, we draw on data pertaining to 11 art museums in Israel that are supported by the Ministry of Culture, analyzing administrative data collected yearly from the museums from 2000 to 2014. Next, we analyze 20 interviews

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Dmitrievna, Evallyo Violetta. "Online Museums as a Complex Work of Art." Perspectiva Filosófica 50, no. 2 (2023): 150–69. http://dx.doi.org/10.51359/2357-9986.2023.259054.

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Since the 21st century, digitalization has been actively implemented in all spheres of life, and this trend is relevant for Russian museums. The main content of the museum's digital environment is characterized by visual diversity and various communication accents. The same theme or exhibitions can be exploited in various visual forms, which allows you to see different shows. An important component of visual content is its split-screen implementation, which partially restores the lost material architectonics to the abstract digital space, or rather, creates an illusion of such a process. The p

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Tkachev, Vitaliy Viсtorovich. "ART MUSEUMS AND GALLERIES AS COMPONENTS OF URBAN CULTURAL LIFE IN THE IRKUTSK RE-GION (ON THE MATERIALS OF THE MUSEUM SPECIALISTS’ WORKS)." Вестник Восточно-Сибирского государственного института культуры 168 (November 11, 2024): 22–31. http://dx.doi.org/10.31443/2541-8874-2024-3-31-22-31.

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Art museums and galleries in the Irkutsk region are places of concentra-tion of the people who are interested in the art and creativity of domestic mas-ters of the pre-revolutionary, Soviet and modern periods. The institutions act as centers for disseminating knowledge about the achievements in the museum development and existing directions of the schools of painting. As part of the research, the museum specialists’ works on the history of creation and devel-opment of art museums and galleries are examined. The plots are presented to describe the changing attitude of scientific and creative co

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Golat, Rafał. "AMENDMENTS TO THE ACT ON MUSEUMS." Muzealnictwo 59 (April 16, 2018): 34–38. http://dx.doi.org/10.5604/01.3001.0011.7614.

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The Act of 21 November 1996 on museums, which has been in force for over 20 years (Journal of Laws of 2017, item 972, as amended), has been amended dozen or more times. Seven of these amendments entered into force in the last two years (2016–2017). They were to a large extent of adjustment character, and concerned inter alia the competence requirements for museum professionals (Journal of Laws of 2017, item 60), removals of museum exhibits from museum inventory (Journal of Laws of 2016, item 1330, and of 2017, item 1086) and the Council of Museums being replaced by the Council of Museums and M

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Karczewski, Leszek. "Distributed Community. Participatory Actions and Organizational Culture of a Museum Institution." Nauki o Wychowaniu. Studia Interdyscyplinarne 18, no. 1 (2024): 155–63. http://dx.doi.org/10.18778/2450-4491.18.12.

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The article discusses the consequences of participatory actions in a museum exemplified by the Find Art exhibition presented at the Muzeum Sztuki Lodz in 2017. It focuses on the transformative impact of participatory projects on museum culture and organizational structure. Museums have shifted from collection-driven entities to audience-oriented institutions, blurring lines between entertainment, education, and cultural heritage. The author highlights the changing paradigm of museums from old to new museology, critiquing power structures within museums. Based on the analysis of the Find Art ex

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Xintong, Guo. "Interactive Spaces in art museums: New landscapes for exhibitions." ISRG Journal of Arts Humanities & Social Sciences (ISRGJAHSS) II, no. VI (2024): 193–97. https://doi.org/10.5281/zenodo.14493277.

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<strong>Abstract</strong> <em>The interactive function of art museums has been paid more and more attention by the public, and art museums are constantly expanding their boundaries. The interactive scene application shows the practical power and innovation of the museum practitioners. In the wave of digitalization, art museums actively respond to technological changes, use digital technology to digitize precious resources such as cultural relics and artworks, build an open public platform, promote the "democratization" of artworks, and build a new exhibition landscape. On the one hand, art mus

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BAKHODIROV, Shakhzod L. "ART SHOP AT MUSEUMS OF UZBEKISTAN." Art and Design: Social Science 02, no. 03 (2022): 19–22. http://dx.doi.org/10.37547/ssa-v2-i3-06.

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Traditionally, museums perform the functions of collecting, storing and broadcasting cultural values to the public. Today we can talk about a new trend – the transformation of museums into cultural, historical and leisure centers, which makes it necessary to abandon the traditional approach to museum activities in the broad sense of this concept. Museum management should now pay attention not only to the creation of exhibitions and exhibitions, but also to the work of recreational areas, leisure centers, infrastructure development. An important aspect is the work with the visitor, the organiza

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Jacknis, Ira. "Anthropology, Art, and Folklore." Museum Worlds 7, no. 1 (2019): 109–33. http://dx.doi.org/10.3167/armw.2019.070108.

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In the great age of museum institutionalization between 1875 and 1925, museums competed to form collections in newly defined object categories. Yet museums were uncertain about what to collect, as the boundaries between art and anthropology and between art and craft were fluid and contested. As a case study, this article traces the tortured fate of a large collection of folk pottery assembled by New York art patron Emily de Forest (1851–1942). After assembling her private collection, Mrs. de Forest encountered difficulties in donating it to the American Museum of Natural History and the Metrop

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Kang, Donghyun, Haram Choi, and SangHun Nam. "Learning Cultural Spaces: A Collaborative Creation of a Virtual Art Museum Using Roblox." International Journal of Emerging Technologies in Learning (iJET) 17, no. 22 (2022): 232–45. http://dx.doi.org/10.3991/ijet.v17i22.33023.

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This study proposes education on creating virtual art museums using metaverse technology to broaden the understanding of art museums. It investigates the effect of creating a virtual art museum using Roblox Studio, a metaverse platform, on the acquisition of knowledge about art museums, artists, and artworks and the ability to create metaverse content. This study selected the Moonshin Art Museum (MAM), the art museum to be created in the metaverse space, as its local cultural space. Fifteen students participated in a creation workshop to learn to create virtual spatial content using Roblox Stu

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Song, Baoqing, Jie Ren, Xiaohu Wang, and Xiang Xie. "College Students’ Views on Museum Learning: A Sustainable Aesthetic Education Perspective." Sustainability 17, no. 3 (2025): 1097. https://doi.org/10.3390/su17031097.

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Museums are important educational platforms in informal learning environments, offering essential off-campus venues for university-level aesthetic education. Over half of students’ independent off-campus art appreciation activities occur in museums. This study employed a mixed-methods approach to analyse students’ general impressions of museums using the TF-IDF algorithm. Additionally, the specific feelings of university students participating in self-directed museum learning were explored through focus groups, and differences between learning in museums and appreciating other art forms from t

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Wang, Zhisheng, Yukari Nagai, Jiahui Liu, Nianyu Zou, and Jing Liang. "Artificial Lighting Environment Evaluation of the Japan Museum of Art Based on the Emotional Response of Observers." Applied Sciences 10, no. 3 (2020): 1121. http://dx.doi.org/10.3390/app10031121.

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This paper mainly studies the effect of artificial lighting environmental factors on the psychological emotions of observers in the large and practical space of the museums. The purpose is to reveal the relationship between the observers’ response and the artificial lighting condition in the actual art museum space. Field research regarding three art museums in Japan was carried out and the optical environment parameters applied in those museums were quantified. The innovation method is to define the artificial lighting environment space in the way of classified lighting design. Thirty one obs

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Bezrukova, Nataliya B. "THE FIFTH PROLETARIAN MUSEUM. HISTORY OF CREATION AND ACTIVITIES OF THE MOSCOW ART MUSEUM IN THE 1920S." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 52–65. http://dx.doi.org/10.28995/2686-7249-2020-8-52-65.

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The article highlights the history of the so-called proletarian museums that opened in Moscow’s working-class suburbs in the 1920s. The study of their activities seems relevant, since it opens up the opportunity for a deeper study of the history of art museums in Moscow in the 1920s. Special attention is given to the Fifth Proletarian museum, which was a part of the State Tretyakov Gallery. More archival documents have survived on this museum than on any other of the proletarian museums. After studying some unpublished documents in Russia’s major archives, the author has discovered some import

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Vuković, Vuk. "The Institutionalization of Video Art at the Museum of Modern Art." Journal of Curatorial Studies 12, no. 2 (2023): 144–73. http://dx.doi.org/10.1386/jcs_00086_1.

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Analysing the history of video art poses challenges due to the complex environments from which video emerged. However, some of its conceptual origins can be traced through art institutions that pioneered the integration of video art into museums. By examining key projects and exhibitions at the Museum of Modern Art, I argue that the museum’s first study grant obtained from the Rockefeller Foundation not only expanded the exhibition and collection of video work, but also laid the foundation for its institutionalization, which in turn exerted decisive effects on the subsequent history of video a

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Petrosyan, Lusine. "MONUMENTAL ART IN MUSEUM DESIGN." JOURNAL FOR ARMENIAN STUDIES 3, no. 66 (2025): 175–91. https://doi.org/10.24234/journalforarmenianstudies.v3i66.130.

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As a result of the conducted research, it can be asserted that the use of monumental art in museums unites various art forms - mural, mosaic, sculpture, and others that integrate into the architectural environment and create a unified, powerful aesthetic and ideological impact. It also serves educational and ideological purposes, especially in the preservation of cultural values and historical memory among the public. The application of monumental art in museum design highlights our cultural heritage and history, making them impressive and educational. The design of museums through monumental

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Ajayi, Joseph Babatunde. "Importance of Art Museum and its Influence on Behavioral Intention of Visitors." Advances in Multidisciplinary & Scientific Research Journal Publications 12 (2024): 2–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3x.

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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they

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Ajayi, Joseph Babatunde. "Importance of Art Museum and its Influence on Behavioral Intention of Visitors." Advances in Multidisciplinary and scientific Research Journal Publication 12 (2024): 23–30. http://dx.doi.org/10.22624/aims/humanities/v12n2p3.

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This study aimed to investigate the importance of art museum and its influence on behavioural intention of visitors. Well-structured questionnaire directed at two hundred visitors who were willing to participate in the study was used to gather data for analysis. Data was analyzed descriptively through tables, charts and inferentially through Chi Square and Pearson correlation. Results revealed that “I gained new knowledge from my experience visiting art museum” had the highest mean value (4.21) of perception about art museums. Also, the visitors were willing to visit more art museums and they

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Xiang, Yuhang. "A Study on the Development of Art Derivatives in Chinese Museums —Take the Beijing Palace Museum as an Example." Asian Journal of Social Science Studies 7, no. 7 (2022): 17. http://dx.doi.org/10.20849/ajsss.v7i7.1238.

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With their history and culture, museums have become one of the most important choices for the cultural and artistic consumption of the public. The exploitation of art derivatives makes it possible to increase the visibility of museums. While promoting traditional Chinese culture and allowing the audience to experience the artistic atmosphere, art derivatives can also bring museums closer to the social public, better reflect and perform the social functions of museums. Only a very small number of museums in China are currently developing art derivatives, and most have no advantage of research a

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ZHAO, J., and O. YEZHOVA. "IMPACT OF DIGITAL ART ON DESIGN OF ONLINE MUSEUM: USER-CENTERED DESIGN, NARRATIVE DESIGN, AND INTEGRATION OF TECHNOLOGY." Art and Design, no. 3 (November 11, 2023): 92–100. http://dx.doi.org/10.30857/2617-0272.2023.3.8.

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This research aims to explore the means by which digital art presented in online museum exhibitions will contribute to an improved visitor experience of the museum exhibition. Theoretical and practical research methods are used, namely, analysis of scientific and professional literature on the impact of digital culture on museum exhibits, analysis of design analogs of online museums. Based on the research analysis, the influence of digital culture on art museums was established, which allowed them to go beyond physical spaces, display digital art and implement virtual reality technologies. The

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Mastandrea, Stefano, Gabriella Bartoli, and Giuseppe Bove. "Learning through Ancient Art and Experiencing Emotions with Contemporary Art: Comparing Visits in Two Different Museums." Empirical Studies of the Arts 25, no. 2 (2007): 173–91. http://dx.doi.org/10.2190/r784-4504-37m3-2370.

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The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that d

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Nodelman, Perry. "Touching Art: The Art Museum as a Picture Book, and the Picture Book as Art." Journal of Literary Education, no. 1 (December 8, 2018): 6. http://dx.doi.org/10.7203/jle.1.12085.

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Based on a keynote address delivered at the 2017 Child and the Book conference in Valencia on interdisciplinary links between children’s literature and the arts, this essay draws on its author’s experience first as a children’s literature scholar focused on picture books and then as a volunteer guide and docent for school tours in art museums. It explores how visits to art museums might be enriched by thinking about the art in them in the ways in which we think about the art in children’s picture books- as images illuminated by a context of nearby images and the verbal language they appear in

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Stojanović Stošić, Milena М., and Marija М. Nešić. "Mogućnosti i značaj virtuelnih poseta muzejima na časovima likovne kulture." УЗДАНИЦА XIX, no. 1 (2022): 345–58. http://dx.doi.org/10.46793/uzdanica19.1.345ss.

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Museums, as keepers of tradition and culture, are ideal places for learning and enhancing children’s interest in art. However it is not always easy to take pupils to exhibi- tions, or organise an art class in a museum, which opens the possibility for virtual museum tours. Many renowned museums around the world provide this opportunity. As a result, pupils can see the greatest works of art and have the full museum experience, without having to leave their classrooms. This paper presents an online educational program of the National Museum in Belgrade, titled The National Museum in the Classroom

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Facuse Muñoz, Marisol, and Raíza Ribeiro Cavalcanti. "The Museum as a Laboratory: An Approach to the Experience of Public Museums in Chile." Social Sciences 13, no. 2 (2024): 90. http://dx.doi.org/10.3390/socsci13020090.

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The present article analyzes the recent debates regarding the redefinition of the museum, exploring resonances in reflective practices and processes in public museums in Chile. While these have caused controversy and discord, they appear to converge in the need to rethink the relationship between museums and society, seeking to make them more inclusive, democratic and diverse. The present discussion is based on the preliminary results of “LAB_Museums: Contemporary Museums and Museologies”, an ongoing interdisciplinary research intervention model promoting processes of co-production of knowledg

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Kasbayeva, Gulnaz, Assiya Mamyrbekova, and Bagila Tairova. "Culture management in cultural and art institutions: A cultural analysis." Scientific Herald of Uzhhorod University Series Physics, no. 55 (February 5, 2024): 730–38. http://dx.doi.org/10.54919/physics/55.2024.73kd0.

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Relevance. The object of this research is the managerial culture in the museums of the Republic of Kazakhstan. The study considers a management culture in museums on a large scale, as museums of the Republic of Kazakhstan are a part of the world culture and their development occurs not in self-isolation from the world, but in this world, though in time of experiencing economic and political crises, and in time of a pandemic. Purpose. The paper examines the general history of museum development in Kazakhstan, management culture, and management itself. The management culture is shown from ethica

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Mangione, Gemma. "Making Sense of Things: Constructing Aesthetic Experience in Museum Gardens and Galleries." Museum and Society 14, no. 1 (2017): 33–51. http://dx.doi.org/10.29311/mas.v14i1.624.

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Studies of museum behaviour in sociology often examine how external environments shape organizational practice. Through an ethnographic study, this article considers programmes for visitors with disabilities at a major metropolitan art museum and botanical garden to ask how ‘sensory conventions’ vary across museums, and with what effects. I trace how museum staff construct the aesthetic experience of art and nature differently to shape how visitors use their senses, and which senses they use, when interacting with museum collections. Examining aesthetic meanings across different kinds of museu

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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.

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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue

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Kristinsdóttir, AlmaDís, and Sigurjón Baldur Hafsteinsson. "Organizational structures and the museum’s educative function. Empty options at the Reykjavík Art Museum." Nordisk Museologi 26, no. 2 (2019): 77–94. http://dx.doi.org/10.5617/nm.7478.

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Museum education is a field in flux that faces continuous theoretical and practical challenges. We argue that formal museum organizational structures, the informal, and experiences of museum workers should be intertwined. We also argue that the influence of museum educators on shaping policies is relevant. Formal organizational structures in museums should be acknowledged and systematically embedded in the shaping and governance of sustainable museum education practices if museums are to succeed as learning institutions. We contend that museum organizational structures disempower the developme

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Chenglong, Dai, and Thongchue Khiatthong. "Strategic management of rural art museums in southern Zhejiang province, China: A mixed approach." Edelweiss Applied Science and Technology 8, no. 5 (2024): 1726–39. http://dx.doi.org/10.55214/25768484.v8i5.1893.

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Restoration of rural art museums in southern Zhejiang is important for regional and national development. Therefore, this study focuses on the strategic management issues of rural art museums in southern Zhejiang in the context of revitalization. This research sets three objectives: (1) to study and analyze rural art museums; (2) to synthesize strategic management; and (3) to create, propose, and define strategic management. This study used a mixed approach, with 300 stakeholders from five rural art museums in southern Zhejiang. The results show that elements of the strategic management model

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Tzortzi, Kali. "The art museum as a city or a machine for showing art?" Architectural Research Quarterly 14, no. 2 (2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.

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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–

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Yao, Si Hang, and Sungho Yoon. "A Study of the Exhibition Characteristics of Modern Art Museums from the Perspective of Heterotopia." Korea Institute of Design Research Society 9, no. 4 (2024): 947–63. https://doi.org/10.46248/kidrs.2024.4.947.

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This study explores the characteristics of planning spaces in contemporary art museums and their application in exhibitions through Foucault's theory of 'Heterotopia.' It examines four case studies: “Electronic Forest” at the National Museum of Modern and Contemporary Art in Seoul, Korea; “INFINITY CHINA AEROSPACE” at Today Art Museum in Beijing, China; “Refik Anadol: Unsupervised” at the Museum of Modern Art in New York, USA; and “Yayoi Kusama: Infinity Mirror Rooms” at Tate Modern in London, UK. The study analyzes how these museums utilize space design, interactive experiences, and digital t

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Lambert, Susan. "The National Art Library repositioned." Art Libraries Journal 27, no. 4 (2002): 5–11. http://dx.doi.org/10.1017/s0307472200012797.

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Archives, libraries and museums have for some time been trying out the advantages, for themselves and for each other, of working together and sharing long-term aims. These independent sorties were given a coercive impetus in April 2000 when the Government-funded Library & Information Commission and the Museums & Galleries Commission were replaced by the single-word Resource, to bring together ‘strategic advocacy, leadership and advice to enable museums, archives and libraries to touch people’s lives and inspire their imagination, learning and creativity’. At the Victoria and Albert Mus

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Jiang, Hao, and Si Jia Jiang. "The Architecture of Daniel Libeskind’s Jewish Museums." Applied Mechanics and Materials 174-177 (May 2012): 1812–19. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1812.

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Memorial architecture faces the special challenge of commemorating the absent; Jewish museums deal with an extra problematic history of high sensitivity. This paper examines and compares Daniel Libeskind’s architectural solutions to the cultural and political challenges in each of the three Jewish museums that he designed in Berlin, San Francisco and Copenhagen. The focus is on how the architecture institutionalizes the web of political relationships attached to the particular museum and delivers the museum’s message. It will be concluded that Libeskind has used space to address visitors bodil

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Chen, Yuanchiu, Shan Zhang, Zuorong Dong, Fei Shen, Xilin Chen, and Yuyan Lin. "Architectural design of an open cultural space for a cultural heritage art museum." SHS Web of Conferences 192 (2024): 01010. http://dx.doi.org/10.1051/shsconf/202419201010.

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Starting from the interaction between art museums and the public and the way to get along with them, art museums can be closer to the life of the public, and provide the public with spiritual enjoyment, while also playing a certain role in promoting the dissemination and inheritance of local and even national culture. The audience, as the receiver of the exhibition information of the art museum, is also the medium of cultural dissemination of the art museum. This interactive relationship is exactly what we want to explore in the process of art museum design.

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Todino, Michele Domenico, Eliza Pitri, Argyro Fella, et al. "Bridging Tradition and Innovation: Transformative Educational Practices in Museums with AI and VR." Computers 14, no. 7 (2025): 257. https://doi.org/10.3390/computers14070257.

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This paper explores the intersection of folk art, museums, and education in the 20th century, with a focus on the concept of art as experience, emphasizing the role of museums as active, inclusive learning spaces. A collaboration between the University of Salerno and the University of Nicosia has developed virtual museum environments using virtual reality (VR) to enhance engagement with cultural heritage. These projects aim to make museums more accessible and interactive, with future potential in integrating artificial intelligence NPC and VR strategies for personalized visitor experiences of

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Samolik, Sandra M. "Book Review: Daniel H. Weiss, Why the Museum Matters." Museum and Society 21, no. 2 (2023): 72–73. http://dx.doi.org/10.29311/mas.v21i2.4407.

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"Why the Museum Matters" by Daniel H. Weiss is a captivating exploration of the challenges and responsibilities faced by museums, with a particular focus on those in the United States. It provides a selective history of art museums, highlighting their cultural significance throughout time. The book delves into the diverse roles of museums today and their evolving mission for future generations. It examines the essence of encyclopedic museums and their inherent limitations, emphasizing education, community-building, idea generation, and art preservation as their primary objectives. Addressing t

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Rutkauskaitė, Milda. "Integration of Handheld Guides in Museums: The Case of Lithuania’s Art Museums." Art History & Criticism 15, no. 1 (2019): 71–82. http://dx.doi.org/10.2478/mik-2019-0005.

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Summary The most common technological device found in organisations of cultural heritage is a handheld guide. This device can simultaneously perform several functions, and its integration in permanent expositions has significance both for the operation of organisations of cultural heritage and experience of visitors when they visit a museum or a gallery. It should be noted that art museums and galleries encounter a task to present often static and difficult to understand at first sight works of art in an interesting fashion. Therefore, in this study, the main functions of a handheld guide as a

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Konopka, Emiliana. "Antropologia sztuki rdzennej ludności regionu nordyckiego: reprezentacja Kalaallit Nunaat i Sápmi w muzeach skandynawskich." Porta Aurea, no. 22 (December 29, 2023): 154–71. http://dx.doi.org/10.26881/porta.2023.22.08.

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This essay is an attempt to present the most important points of the current discussion about the cultural remains of colonialism in Scandinavia by analyzing the representation of indigenous art in museums. I would like to focus on the reasons why Saami and Inuit art was usually excluded from the traditional art history narrative and placed almost exclusively in collections of ethnographic or historical museums. On the examples of the strategies applied by three museums: the National Museum of Denmark in Copenhagen, Nordic Museum in Stockholm, and the National Museum of Art, Architecture and D

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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING." Muzealnictwo 62 (September 13, 2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.

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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko

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Fedorina, M. V., and D. K. Ovsyannikova. "REBRANDING AS A CONSEQUENCE OF TRANSFORMATION AND DEVELOPMENT OF MUSEUMS AND MUSEUM-TYPE INSTITUTIONS IN RUSSIA ON THE EXAMPLE OF THE PUSHKIN STATE MUSEUM OF FINE ARTS." Topical Issues of Culture, Art, Education 43, no. 1 (2025): 64–77. https://doi.org/10.32340/2949-2912-2025-1-64-77.

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The role of rebranding as an effective tool for the development and transformation of Russian museums is analyzed, the role and importance of a strong museum brand is determined, strategies and models for effective rebranding in museums and museum-type institutions are considered, prerequisites for museum rebranding are studied, and key features of museum rebranding are highlighted. An important part of the work is also the consideration of the rebranding of the Pushkin State Museum of Fine Arts as an actual example of a large-scale rebranding of a major Russian museum. The analysis examines i

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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation." Issues of Museology 13, no. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.

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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibit

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Qin, Wei. "An Analysis of the Development and Marketing Strategy of Art Merchandise in Art Museums." Highlights in Art and Design 2, no. 1 (2023): 44–48. http://dx.doi.org/10.54097/hiaad.v2i1.5323.

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There have been many limitations and lags in the commercial operation of public art institutions, while art merchandise is an important business for the commercial operation and profitability of art museums. How to make profits in the market while still building an art brand image has been the priority for art museum operators to think and study. This paper examines the new experiences and innovative initiatives of public art museums in the art merchandising business through the case of the National Museum of Modern and Contemporary Art, Korea (MMCA). First, through the experience of operating

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Yang, Yeon Kyoung. "A Study of Art Museums Convergence Education Guidelines Model for Social Improvement and Talents Development of Mild Autism Spectrum Disability." Korea Institute of Design Research Society 8, no. 1 (2023): 164–77. http://dx.doi.org/10.46248/kidrs.2023.1.164.

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In order to establish an effective museum convergence education guide and model, this study first sought ways to redefine the local and social role of art museums for the people with autism developmental disabilities. Second, the effectiveness of art enjoyment, mental recovery, and self-exploration were analyzed, and through the participation of family guardians in art museum programs. Third, various attempts and new role implications were derived to expand the social convergence platform of art museum exhibition-linked education. Fourth, an integrated model such as communication, healing, emp

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Gerasimova, Natalia V. "The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s." Observatory of Culture 15, no. 6 (2018): 754–63. http://dx.doi.org/10.25281/2072-3156-2018-15-6-754-763.

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The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural values and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face simil

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Vasile, Cristian. "Art and Ethnographic Museums and Art Collections in Postwar Romania: Between Historical Writing and Memory." Journal of Romanian Studies 7, no. 1 (2025): 51–75. https://doi.org/10.3828/jrns.2025.4.

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Drawing on periodicals for dissemination abroad, historical sketches, museum catalogs, and academic journals, this historiographical essay examines scholarship produced during the communist and post-communist periods on some of Romania’s leading museums and art collections. Although scholars view the 1960s as a turning point in communist cultural policies, the historiography on museums and art collections suggests not just discontinuities, but also continuities; thus my aim is to analyze these ambiguities and complexities. Approaching the topic of museums and cultural heritage from a legislati

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Cui, Dalong. "EXHIBITION ART DESIGN AND PRACTICE OF "XINJIANG CULTURAL RELICS EXHIBITION"." Advances in Culture and Arts 3, no. 1 (2023): 05–07. http://dx.doi.org/10.26480/aca.01.2023.05.07.

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Exhibition art design is a significant procedure that cannot be ignored when a museum organizes exhibitions. Any movement to weaken exhibition art design is to lower the museum’s exhibition level. Exploring and researching it broadly and deeply has positive practical significance. This essay takes “Xinjiang Cultural Relics Exhibition” as an example, analyzes and summarize its thinking conception and practical methods of exhibition art design, as well as summarizes the internal aesthetic principles of the exhibition, to provide a highly referential approach for the exhibition art design of muse

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Kaya, Sevkiye M., and Yasemin Afacan. "Effects of daylight design features on visitors’ satisfaction of museums." Indoor and Built Environment 27, no. 10 (2017): 1341–56. http://dx.doi.org/10.1177/1420326x17704028.

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This study evaluates daylight performance in an art museum in İstanbul, Turkey to analyse the effects of daylight design features on visitors’ satisfaction in art museums. The study is based on users’ data obtained through a survey and daylight simulation achieved by Autodesk 3D’s Max 2014. A three-part questionnaire was conducted with 100 participants in overcast- and clear-sky conditions to rate visitors’ satisfaction with the museum and their importance level of daylight design issues in museums. The museum’s daylight illuminance data were measured on a scaled model by a computer simulation

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Andermann, Jens. "Showcasing Dictatorship." Journal of Educational Media, Memory, and Society 4, no. 2 (2012): 69–93. http://dx.doi.org/10.3167/jemms.2012.040205.

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This article compares two recently inaugurated museums dedicated to the period of dictatorial terror and repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago, Chile (opened in 2009), and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance of traumatic events from the past. They seek to sidestep the detachment and "objectivity" that has traditionally characterized historical museum displays in favor of soliciting active, performative empathy from visitors. Neithe

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